Thesis (MMus (Music))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly premised on the assumption of complicity as an interpretive frame in which the relationship between Apartheid intellectualisation and Afrikaans music historiography can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four chapters, I attempt to construct metaphors, points of intersection or articulation between Apartheid intellectualisation and Afrikaans music historiography. Music is never entirely absent: for Apartheid ideologues such as Geoffrey Cronjé and Gerrie Eloff musical metaphors become ways of enunciating racial theories, for the Dutch musicologist Jan Bouws music provides entry into South Africa and its discourses, for J.P. Malan music becomes a conduit that could facilitate national goals and for Rosa Nepgen music constitutes the perfect domain for and the gestating impulse of her own often ornate national devotions. Some of the themes addressed in this thesis include the language and metaphors of Apartheid intellectualisation, discourses of paranoia, struggle, purity, contamination, the ‘Afrikanermoeder’ (‘Afrikaner mother’), the cultural language of Afrikaner nationalism and the reciprocity between cultural fecundity and dominance of the land. The final denouement comprises a positing of the Afrikaans art song ‘O Boereplaas’ and the singing soprano Afrikanermoeder who emerges as the keeper of Afrikaner blood purity, guardian of her race and prophet of its fate and future. / AFRIKAANSE OPSOMMING: Hierdie tesis probeer om vrae uit ons verlede in die hede te verstaan. Die aanname van komplisiteit verskaf ’n premis en interpreterende raamwerk waarbinne die verhouding tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie belig kan word. Die protagoniste van hierdie tesis is Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen en Jacques Philip Malan. In elk van die vier hoofstukke poog ek om metafore, punte van kruising of artikulasie tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie te konstrueer. Musiek word nooit buite rekening gelaat nie: vir Apartheid-ideoloë soos Geoffrey Cronjé en Gerrie Eloff word musikale metafore maniere hoe teorieë oor ras geformuleer kan word, vir die Nederlandse musikoloog Jan Bouws verleen musiek toegang tot Suid-Afrikaanse kulturele diskoerse, vir J.P. Malan word musiek ’n kanaal waardeur nasionale doelstellings vloei en vir Rosa Nepgen verteenwoordig musiek die ideale omgewing en teelaarde vir haar eie en gereeld oordadige nasionale lofuitinge. Sommige van die temas wat in hierdie tesis aangespreek word sluit in die taal en metafore van Apartheid intellektualisering, diskoerse van paranoia, stryd, suiwerheid, kontaminasie, die Afrikanermoeder, die kulturele taal van Afrikanernasionalisme en die wederkerigheid tussen kulturele oplewing en oorheersing van Suid-Afrika. Die tesis word tot slot gevoer deur ’n besinning oor die Afrikaanse kunslied ‘O Boereplaas’ en die singende sopraan, die Afrikanermoeder, wat na vore tree as die bewaarder van Afrikaner-bloedsuiwerheid, oppasser van haar ras en die profetes van die volk se lot en toekoms.

Thesis (MMus (Music))--Stellenbosch University, 2008. / The Libertas Choir occupies an exceptional place in the history of choral music in South Africa, especially in the Western Cape. The research on this choir is presented here in the form of a historical study, tracing the details chronologically from a politically inspired mass choir in 1986 to the founding of the Libertas Choir in 1989, and then following its history until the end of 2006. The first three chapters contain highlights of the first 17 years (1989-2006) while the subsequent chapters contain compositions specifically composed or arranged for the choir, a profile of the conductor, issues that the choir faced as well as an insight into the choir as “ambassador” for South Africa. Documenting the history of this multiracial choir in South Africa, the thesis includes an account of the contribution the choir has made to the development of music in a multicultural society as well as how it has fostered the belief that music sets no social or cultural boundaries. This study also documents the choir’s contribution to the development of multicultural choir performances. The research covers indigenous South African music that has been performed by the choir, as well as new compositions and choral arrangements that were instigated and disseminated by the choir. A selection of programmes sung by the choir during this time is included.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The evolutionary origins of music, defined as “an intentional action in which complex, learned vocalizations (and/or instrumentally produced sound) are combined with the movement of the body in synchrony to a beat” is investigated through an appraisal of the musilanguage theory and relevant literature. The biological adaptations allowing the production and perception of music are identified and their evolutionary histories investigated. The critical adaptations that made rhythmical body movement possible evolved around 1.6 million years ago. These include habitual bipedalism and changes in the vestibular system. There is almost no fossil evidence to inform on the timing and nature of the complex, learned vocalization. However, that the thoracic vertebrate canal had modern proportions by 600 000 years ago indicates that archaic humans were able to achieve the respiratory control necessary to sing. The size of this canal is a proxy for the number of nerve cells that control respiration via the intercostal and abdominal muscles. Musicality is essential to the human mind. Infants are born with rudimentary musical skills with regard to melody, temporal sequences and vocal and bodily imitation. These capabilities are central to the newborns’ innate ability to elicit care by synchronizing their vocal and bodily actions with that of the caregivers. Musical rhythm is further used to entrain bodily and neural oscillations and this permit the creation of trust and social bonding. It is concluded that protomusic developed between 1.6 million and 600 000 years ago. Protomusic consisted of entrained rhythmical whole body movements initially combined with grunt-like vocalizations. The evidence investigated cannot be used to infer the origins of modern music. KEYWORDS: Music, Evolution, Synchronisation, Melody, Dance, Bipedality, Vestibular system, Thoracic vertebrate canal, Infant-directed communication, Neural entrainment

Thesis (MMus (Music))--University of Stellenbosch, 2006. / The piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.

Thesis (MMus (Performance)--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The work represented here is a transcription for two pianos of Vladimir’s Round Table, a relatively unknown, large-scale orchestral work by Stefans Grove. This particular transcription involved an intensive study of the orchestral score in order to best reproduce the work in the most effective way possible for two pianos, as well as to create a sound and convincing work for the two-piano repertoire. The process involved academic as well as pianistic substantiations regarding the inclusion or exclusion of various elements of the orchestral score. It is my hope that the final product is a good representation of a work supported by academic research but not so much as to exclude the possibility of freedom of performance. The ultimate aim of this transcription is to hopefully re-ignite interest in the work as well as to expose it to a wider audience and, in turn, encourage performance of the work in its original form. / AFRIKAANSE OPSOMMING: Die werk wat hiermee voorgelê word, is 'n transkripsie vir twee klaviere van Stefans Grové se minder-bekende orkeswerk, Wladimir se Tafelronde (die Afrikaanse titel wat op die titelblad van die manuskrip verskyn). Die transkripsie het 'n deeglike studie van die orkespartituur behels om sodoende die werk ten beste in die klavier-duo genre weer te gee, en om n oortuigende dog bruikbare werk vir hierdie tipe repertorium te skep. Ten einde die insluiting of weglating van bepaalde elemente van die orkespartituur teen mekaar op te weeg, is die proses deur sowel akademiese- en pianistiese oorwegings ingegee. Ek hoop dat die finale produk verteenwoordigend is van n transkripsie wat deur n akademiese ondersoek ondersteun is, terwyl dit ruimte laat vir praktiese oorwegings wat met die uitvoeringsmoontlikhede en -beperkinginge van die klavier-duo weergawe ter sprake kom. Die hoofdoel met die transkripsie is om hopenlik hernude belangstelling in Grove se orkeswerkte te wek; om dit aan 'n wyer publiek bekend te stel, en op sy beurt uitvoerings van die werk in sy oorspronklike gedaante aan te moedig.

Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Music teaching in groups is an important aspect of the development of the child in Foundation Phase teaching. Early childhood has been described as the most critical period in the child’s musical development. With the introduction of Outcomes based Education in South Africa, the curriculum regarding the presentation of music classes has changed. Similarities between music group classes and Gestalt Play Therapy were investigated, with the aim of incorporating concepts of Gestalt Play Therapy into music group classes. Legislation was studied in order to determine the expectations of the South African government, and specifically the education departments, relating to music teaching. In the present curriculum, the weight allocation for music in the Foundation Phase was significantly reduced from what it was previously. Teachers must structure their own music programme into their curriculum. Investigation into the presentation of creative music group classes, with the incorporation of the principles of Gestalt Play Therapy, was undertaken in this research study. Gestalt Play Therapy is a holistic approach that combines the principles of Gestalt theory with Play Therapy. Research was undertaken to investigate whether specific stages in Gestalt Play Therapy could be successfully combined with music group classes. This research emphasizes that the developmental stages of the child, specifically physical, neurological, cognitive and language development, should be taken into account when presenting lessons, and that children may be guided towards a higher level of integration and balance in themselves. Research into OBE principles suggests that the way forward could be a continuation of the OBE model, but with certain amendments. An inductive study of practical observation and presentation of creative group classes was undertaken. It was found that most teachers were not adequately qualified to present music classes, and creativity was not satisfactorily addressed in their lessons. / AFRIKAANSE OPSOMMING: Musiekonderrig in groepe is ‘n belangrike aspek rakende die ontwikkeling van die kind in Grondslagfase onderrig. Vroeë kinderjare word beskryf as die mees kritieke periode in die kind se musikale ontwikkeling. Met die inwerkingstelling van Uitkomsgebaseerde onderrig in Suid-Afrika, het die kurrikulum aangaande die aanbieding van musiekklasse verander. Ooreenkomste tussen musiekonderrig in groepe en Gestalt Spelterapie is ondersoek, met die doel om konsepte van Gestalt Spelterapie in musiekonderrig in groepe te inkorporeer. Wetgewing is bestudeer om die verwagtinge, aangaande musiekonderrig, van die Suid Afrikaanse regering, en spesifiek die onderwysdepartemente, te bepaal. Binne die huidige kurrikulum is die gewig toegeken aan musiek, binne die Grondslagfase, aansienlik verminder van voorheen. Onderwysers moet self hul musiekprogramme binne hulle kurrikulum struktureer. ‘n Ondersoek is geloods om die aanbieding van kreatiewe musiekonderrig in groepe te kombineer met die beginsels van Gestalt Spelterapie. Gestalt Spelterapie is ‘n holistiese benadering wat die beginsels van Gestalt teorie kombineer met Spelterapie. Navorsing is gedoen om te bepaal of spesifieke stadia in Gestalt Spelterapie suksesvol gekombineer kan word met musiekonderrig in groepe. Hierdie navorsing benadruk dat die ontwikkelingsstadia van die kind, spesifiek fisiologies, neurologies, kognitief en taalontwikkeling, in ag geneem moet word wanneer lesse aangebied word, en dat kinders hierdeur gelei kan word na ‘n hoër vlak van innerlike integrasie en balans. v Navorsing gedoen betreffende die beginsels van Uitkomsgebaseerde onderrig is aanduidend dat hierdie onderrigmodel wel voortgesit sou kon word, maar met bepaalde aanpassings. ‘n Induktiewe studie van praktiese waarneming sowel as aanbieding van kreatiewe groepsklasse is onderneem. Daar is bevind dat die meeste onderwysers nie voldoende gekwalifiseerd is om musiekklasse aan te bied nie, en kreatiwiteit is ook nie bevredigend in hulle lesse aangespreek nie.

Thesis (MMus) (Music))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING:In Suid-Afrika, soos in ander lande, gebeur dit dikwels dat sangers in een of ander stadium van hul loopbaan met stemmoeilikheid/’n stemprobleem te doen kry. Die mees algemene reaksie is om ’n oor-, neus- en keelspesialis (ONK-spesialis) te besoek vir hulp. Die sangaktiwiteit vereis egter ’n baie fyn gebalanseerde kondisie van die sangapparaat en dit blyk dat die oorsprong van die meeste stemprobleme onder sangers funksioneel van aard is. Daarom word daar van die veronderstelling uitgegaan dat die mees suksesvolle behandelingsroete vir die sanger met ‘n stemprobleem ‘n integrale interdissiplinêre benadering behels wat nie net die ONK-spesialis insluit nie, maar ook ‘n spraakterapeut en sangpedagoog. Anders as in Suid- Afrika, word hierdie interdissiplinêre benadering alreeds algemeen toegepas in lande soos die VSA en Brittanje. Hierdie studie vind plaas vanuit die oogpunt van die sangpedagoog en identifiseer die nodige kennis en praktiese ondervinding wat sodanige sangpedagoog sal benodig om suksesvol as deel van ’n interdissiplinêre span in die behandeling van sangers met stemprobleme te funksioneer. Om hierdie doel te verwesenlik, neem die studie die vorm van ’n gevallestudie aan waarin die navorser binne die bestek van verskeie maande konsultasies met sangers met stemprobleme binne ‘n mediese stemkliniek onder leiding van ’n ONKspesialis prakties geobserveer het. Deurgaans word sodanige gevallestudies weergegee en bespreek. Dit sluit o.a. die rol van elk van die interdissiplinêre spanlede, oorsake en behandeling van tipiese stemprobleme onder sangers, asook die spesifieke rol van die sangpedagoog in die behandelingsproses, in. In die geheel het hierdie studie getoon dat daar ’n groot leemte en onkunde onder baie sangers bestaan (veral amateursangers) wat die nodige sorg en hantering van hul sangstem betref. Hiperfunksionele stemproduksie a.g.v. foutiewe stemgebruikgewoontes, afwesigheid van sangopleiding en onkunde op die gebied van stemhigiëne en -sorg was opvallend. Dit blyk dat die sangpedagoog, in noue samewerking met die ONK-spesialis en spraakterapeut, ‘n kritieke leemte kan vul in die gespesialiseerde opvoeding en behandeling van sangers met stemprobleme. / ENGLISH ABSTRACT: In South Africa, as in other countries, singers frequently happen to experience voice problems at some or other stage in their career. The general reaction to this problem is to seek help from an ear, nose and throat specialist (ENT specialist). Seeing that the activity of singing requires such a finely balanced condition of the vocal instrument, it seems that the origin of most voice problems singers experience are of a functional nature. This study is based on the premise that the most successful way of treating an artist with a voice problem is via an integrated interdisciplinary team approach, which includes an ENT specialist as well as a speech therapist and a singing pedagogue. Unlike in South Africa, this interdisciplinary approach is already common practice in countries such as the USA and the UK. The study is conducted from the viewpoint of a singing pedagogue. It identifies the knowledge and practical experience the singing pedagogue would require to function successfully as part of an interdisciplinary team in the treatment of singers with voice problems. To succeed in this goal the study takes on the form of a case study. The researcher practically observed consultations with singers over several months in a medical voice clinic under the leadership of an ENT specialist. These case studies are reflected and discussed throughout this thesis. Amongst others, this includes the role of each member of the interdisciplinary team, the causes and treatment of typical voice problems amongst singers, as well as the specific role of the singing pedagogue in the treatment process. It is found that a great deal of ignorance exists amongst many singers (especially amateur singers) in respect of the necessary care and management of their singing voice. Hyperfunctional voice production due to incorrect voice-use habits, the absence of vocal training and ignorance regarding vocal hygiene and voice care were encountered frequently.

Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This study concerns the widespread phenomenon that music is perceived as meaningful to the listener in some sense. The study adopts a style of conceptual clarification and investigation that is current in the analytic philosophy of language, and is further informed by recent research into the fundamental biology of human musicality, which suggests that musicality and language are neurologically related. The problem of musical meaning is approached as a problem of communicative behaviour, and is hence conceptually related to the concept of meaningfulness in the various modalities of linguistic communication. ‘Communication’ is defined in terms of the intended consequences of communicative acts – that is, a communicative act is an attempt on the behalf of the utterer to cause some sort of change in the listener’s mental states. From this premise, meaning in both musical and linguistic acts is defined in terms the mental states elicited in the mind of the listener. Two classes of mental state are identified: cognitive states, which are propositional in nature; and affective states, which are essentially nonpropositional. It is proposed that meaning in both music and language (as well as in other communicative acts) can be explained in terms of the elicitation of these classes of mental states in the minds of competent listeners, and that in any linguistic or musical act, a competent listener will entertain a composite of these mental states that will be perceived as meaning. The mechanisms responsible for the elicitation of these states are discussed, and it is concluded that the causal powers of the communicative act, as it is represented in the mind, are responsible for the elicitation of these mental states. Directly causal means are responsible for affective states: there is a relationship of direct causation between relevant features of the communicative act, as represented in the mind, and affective states. Affective states are nonpropositional, in that they cannot be subjected to deductive or propositional operations in the mind. By virtue of their being non-propositional, such states are also considered to be beyond verbal explication (‘ineffable’). Cognitive states, on the other hand, are propositional in nature. The mechanisms by which they are realised are complex in terms of propositional computation: the relevant propositional features of the communicative act, as represented in the mind of the listener, undergo manipulation by mental processes (for instance, the computational system for linguistic syntax). Cognitive states are expressible in propositional terms, and are hence expressible in language. Whereas linguistic communication is efficacious for the elicitation of cognitive states, musical utterances tend to elicit affective states to a far greater degree. Furthermore, whereas the syntax of language aids communication in the facilitation of semantics, the syntactic dimension of music is principally a means of implementing affective states in the listener. Therefore, any explanation of musical meaning must take the syntactical dimension of music into account. It is also argued that there are features of performance common to both language (in its spoken modality) and musical utterances that serve to elicit affective states. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die verskynsel dat musiek deur die meeste luisteraars as betekenisvol ervaar word. ’n Styl van konseptuele verduideliking en ondersoek word gebruik wat eie is aan die analitiese filosofie van taal. Terselfdertyd word die jongste navorsing op die gebied van die fundamentele biologie van menslike musikaliteit in aanmerking geneem, wat suggereer dat taal en musikale vermoë neurologies met mekaar verwant is. Die probleem van betekenis in musiek word as ʼn probleem van kommunikatiewe gedrag benader, en is dus konseptueel verbind aan die konsep van betekenisvolheid in die verskeie modaliteite van kommunikasie deur middel van taal. ‘Kommunikasie’ word in terme van die geïntendeerde uitkomste van kommunikatiewe aksies/dade gedefinieer. Met ander woorde, ʼn kommunikatiewe aksie/daad is ʼn poging deur die spreker om uiteindelik ʼn verandering in die geestesgesteldheid (‘mental state’) van die luisteraar teweeg te bring. Op hierdie basis word twee tipes geestesgesteldheid onderskei: ʼn kognitiewe gesteldheid, wat proposisioneel van aard is, en ʼn affektiewe gesteldheid, wat nie-proposisioneel is. Daar word voorgestel dat betekenis in beide musiek en taal, soos ook in ander vorme van kommunikasie, verduidelik kan word as die belewenis van sodanige geestesgesteldhede aan die kant van die bedrewe luisteraar. Dit impliseer dat die betekenis van enige uiting in taal of musiek as ʼn bepaalde kombinasie van hierdie twee geestesgesteldhede deur die bedrewe luisteraar ervaar word. Die meganismes wat hierdie geestesgesteldhede ontlok word bespreek, en die gevolgtrekking word gemaak dat dit die kousale mag van die kommunikatiewe daad is, soos dit in die bewussyn (‘mind’) neerslag vind, wat hierdie twee tipes geestesgesteldheid ontlok. Daar word beweer dat ʼn proses van direkte kousaliteit verantwoordelik is vir ʼn affektiewe gesteldheid: daar is ’n oorsaaklike verhouding tussen die onderskeie kenmerke van die kommunikatiewe daad, soos dit in die bewussyn voorgestel word, en die uiteindelike affektiewe geestesgesteldheid. ʼn Affektiewe geestesgesteldheid is nie-proposisioneel omdat dit nie in terme van deduktiewe of proposisionele prosesse in die bewussyn verstaan kan word nie. Omdat dit nie-proposisioneel is word die kenmerke van hierdie affektiewe geestesgesteldheid as onsegbaar (‘ineffable’) deur die luisteraar beleef. Daarteenoor is ʼn kognitiewe geestesgesteldheid proposisioneel van aard. Die meganismes wat veroorsaak dat hierdie geestesgesteldheid gerealiseer word is kompleks: die onderskeie kenmerke van die kommunikatiewe daad, soos dit in die bewussyn van die luisteraar voorgestel word, ondergaan manipulasie deur denkprosesse wat proposisioneel van aard is (bv., die denkproses wat die sintaktiese dimensie van taal moet verwerk). ʼn Kognitiewe geestesgesteldheid kan in proposisionele terme weergegee en gevolglik in taal verwoord word. Terwyl kommunikasie deur middel van taal effektief is om ʼn kognitiewe geestesgesteldheid te ontlok, is musikale uitdrukking veel eerder geskik om ʼn affektiewe geestesgesteldheid te ontlok. Verder, terwyl die sintaksis van taal bydra tot verwesenliking van semantiese betekenis, dra die sintaktiese dimensie van musiek eerder daartoe by om ʼn affektiewe geestesgesteldheid by die luisteraar te vestig. Dus moet elke verduideliking van musikale betekenis die sintaktiese dimensie van musiek in aanmerking neem. Verder word beweer dat daar algemene kenmerke in sowel taal (in die gesproke modaliteit) as musiek voorkom wat spesifiek ʼn affektiewe geestesgesteldheid tot stand bring.

Thesis (MPhil (Music))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story. / AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Tonality cognition incorporates a number of diverse and multidisciplinary aspects, including music cognition, acoustics, culture, computer-aided modelling, music theory and brain science. Current research shows growing emphasis on the use of computational models implemented on digital computers for music analysis, particularly with reference to the analysis of statistical properties, form and tonal properties. The applications of these analytical techniques are numerous, including the classification of genre and style, Music Information Retrieval (MIR), data mining and algorithmic composition. The research described in this document focuses on three aspects of tonality analysis, namely music cognition, computational modelling and music theory, particularly from the perspectives of statistical analysis and key-finding. Mathematical formulations are presented for a number of computational algorithms for analysing the statistical and tonal properties of music encoded in symbolic format. These include algorithms for determining the distributions of note durations, pitch intervals and pitch classes for statistical analysis and for template-based key-finding for tonal analysis. The implementation and validation of these computational algorithms on the Matlab software platform are subsequently discussed. The software application is used to determine whether a more optimal combination of pitch class weighing model and key profile template for the template-based key-finding algorithm can be derived, using the 24 preludes from Bach’s Well-tempered Clavier Book I, the Courante from Bach's Cello Suite in C major and the Gavotte from Bach's French Suite No. 5 in G major (BWV 816) as test material. Four pitch class weighing models, namely histogram weighing, flat weighing, linear durational weighing and durational accent weighing, are investigated. Two prominent key profile templates proposed in literature are considered, namely a key profile derived from tonality cognition experiments and a key profile based on classical music theory principles. The results show that the key-finding performances of all the combinations of the pitch class weighing models and existing key profile templates depend on the nature of the test material and that none of the combinations perform optimally for all test material. The software application is subsequently used to determine whether a more optimal key profile template can be derived using a pattern search parameter estimation algorithm. This investigation was conducted for diverse sets of search conditions, including unconstrained and constrained key profile coefficients, different pitch class weighing models, various key resolutions and different search algorithm parameters. Using the same sample material as for the key-finding evaluations, the investigation showed that a more optimal key profile, compared to existing profiles, can be derived. In comparing the average key-finding scores for all of the test material, the optimised profiles outperform the existing profiles substantially. The optimised key profiles introduce new pitch class hierarchies where the supertonic and the subdominant rate higher at the expense of the mediant in the major profile to improve the tracking of key modulations. / AFRIKAANSE OPSOMMING: Kognitiewe tonaliteit behels 'n aantal uiteenlopende en multidissiplinêre aspekte, insluitende musiek, akoestiek, kultuur, rekenaargesteunde modelering, musiekteorie en breinwetenskap. Huidige navorsing toon toenemende klem op die gebruik van berekenende modelering wat op digitale rekenaars geimplimenteer is vir musiekanalise, veral met verwysing na die analise van statistiese eienskappe, vorm en tonale eienskappe. Die aanwending van hierdie analitiese tegnieke is veelvoudig, insluitende die klassifikasie van genre of styl, onttrekking van musiekinformasie, dataversameling en algoritmiese komposisie. Die navorsing wat in hierdie dokument beskryf word fokus op drie aspekte van tonaliteit analise, naamlik musiekkognisie, berekenende modelering en musiekteorie, veral vanuit die perspektiewe van statistiese analise and toonsoortsoek. Wiskundige formulerings word aangebied vir 'n aantal berekeningalgoritmes vir die analise van die statistiese en tonale eienskappe van musiek wat in simboliese formaat ge-enkodeer is. Hierdie sluit algoritmes in vir die bepaling van die verspreidings van nootlengtes, toonintervalle en toonklasse vir statistiese analise en vir templaatgebaseerde toonsoortsoek vir tonale analise. Die implementering en validering van hierdie berekeningalgoritmes op die Matlab programmatuur platvorm word vervolgens bespreek. Die programmatuur toepassing word vervolgens gebruik om te bepaal of 'n meer optimale kombinasie van toonklas weegmodel en toonsoortprofiel templaat vir die templaat-gebaseerde toonsoortsoek algoritme afgelei kan word, deur gebruik te maak van Bach se Well-tempered Clavier Book I, die Courante van Bach se Cello Suite in C major en die Gavotte van Bach se French Suite No. 5 in G major (BWV 816) as toetsmateriaal. Vier toonklas weegmodelle, naamlik histogram weging, plat weging, lineêre duurtyd weging en duurtyd aksent weging, word ondersoek. Twee prominente toonsoortprofiel template uit die literatuur word oorweeg, naamlik 'n toonsoortprofiel wat van tonaliteit kognisie eksperimente afgelei is en 'n toonsoortprofiel gebaseer op klassieke musiekteoretiese beginsels. Die resultate wys dat die toonsoortsoek prestasies van al die kombinasies van die toonklas weegmodelle en bestaande toonsoortprofiel template afhang van die aard van die toetsmateriaal en dat geen van die kombinasies optimaal presteer vir alle toetsmateriaal nie. Die programmatuur toepassing word vervolgens aangewend om vas te stel of 'n meer optimale toonsoortprofiel afgelei kan word deur gebruik te maak van 'n patroonsoek parameterestimasie algoritme. Hierdie ondersoek is uitgevoer vir uiteenlopende stelle soektoestande, insluitende onbeperkte en beperkte toonsoortprofiel koëffisiënte, verskillende toonklas weegmodelle, 'n verskeidenheid toonsoort resolusies en verskillende soekalgoritme parameters. Deur gebruik te maak van dieselfde toetsmateriaal as vir die toonsoortsoek evaluerings, toon die ondersoek dat 'n meer optimale toonsoortprofiel, in vergelyking met bestaande profiele, afgegelei kan word. In 'n vergelyking van die gemiddelde toonsoortsoek prestasie vir al die toetsmateriaal, presteer die geoptimeerde profiele aansienlik beter as die bestaande profiele. The ge-optimeerde toonsoortprofiele lei tot nuwe toonklas hiërargiee waar die supertonikum en die subdominant hoër rangposissies beklee ten koste van die mediant in die majeur profiel, ten einde die navolg van toonsoort modulasies te verbeter.