Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Nowadays Music Community Projects are a common phenomenon in South Africa. These projects start with great ambition to uplift underprivileged communities through music education, but due to various reasons many of these projects unfortunately do not last very long. The Frank Pietersen Music Centre (FPMC) in Paarl, which recently celebrated its fortieth year, suffered many drawbacks during its existence, but also showed unbelievable progress during the same time. At the moment the FPMC is a noticeable institution and the only one of its nature in the Drakenstein district. The centre was established in the Paarl Coloured community during the early years of Apartheid as a result of a shortage of music facilities for this population group. As music was one of the few activities in which this population group could express themselves during this time, various music activities resulted and the need for formal music education for the Paarl Coloured community became more prominent. Mr Frank Pietersen took notice of this need and in 1970 he established the Paarl Schools Music Centre (PSMC). This music centre showed immense progress, but as a result of various reasons it started declining during the late eighties and finally in 1988 it experienced a period of recess. After Mr Pietersen's death in 1989, his son, Mr Vaughan Pietersen, decided to let the PSMC relive. In October 1991 the PSMC celebrated its 21st year and at this occasion it was renamed after its founder and was known thereafter as the Frank Pietersen Music Centre. Since, the centre has reached many milestones and its existence was ensured when it was taken over by the Western Cape Education Department in 1994. At the moment the FPMC provides music education to children and adults, in and outside the borders of the Drakenstein area. Education is provided in nearly all the instruments of the Classical Symphony Orchestra, as well as African instruments and Jazz instruments. It has various instrumental ensembles and choirs and the FPMC is especially well known for its Youth Orchestra. The centre also provides for the needs of the surrounding underprivileged communities by means of outreach programmes that are presented at reasonable fees. The latest addition to the centre's education is the presentation of the full Subject Music programme for scholars and it forms part of the Western Cape Education Department's programme for Further Education and Training. This thesis attempts to research and document the unique history of the FPMC, as well as studying the current functioning of the centre in order to serve as a guide and motivation for other music centres or -projects of a similar nature. / AFRIKAANSE OPSOMMING: Musiekgemeenskapsprojekte is deesdae ʼn algemene verskynsel in Suid-Afrika. Hierdie projekte begin gewoonlik met groot ambisie met die doel om minderbevoorregte gemeenskappe deur middel van musiekonderrig op te hef, maar as gevolg van verskeie redes gaan baie daarvan net so vinnig weer tot niet. Die Paarlse Frank Pietersen Musieksentrum (FPMS) wat onlangs sy veertigste bestaansjaar gevier het, het tydens sy bestaan deur diep waters gegaan, maar terselfdertyd ook vooruitgegaan. Tans is die FPMS ʼn gerekende instelling en die enigste van sy aard in die Drakensteindistrik. Die sentrum het tydens die vroeë Apartheidsjare in die Paarlse Bruin gemeenskap ontstaan, as gevolg van ʼn tekort aan musiekfasiliteite vir hierdie bevolkingsgroep. Aangesien musiek in daardie tyd een van die min aktiwiteite was waarin hierdie bevolkingsgroep hulself kon uitdruk, het daar verskeie musikale aktiwiteite ontstaan en het die behoefte aan formele musiekonderrig vir die Paarlse Bruin gemeenskap al hoe groter geraak. Mnr. Frank Pietersen het hierdie behoefte raakgesien en het in 1970 die Paarl Skole-Musieksentrum (PSMS) gestig. Hierdie musieksentrum het sterk ontwikkeling getoon, maar as gevolg van verskeie redes het dit in die laat tagtiger jare agteruitgegaan en het uiteindelik in 1988 ʼn periode van reses beleef. Na mnr. Pietersen se dood in 1989, het sy seun, mnr. Vaughan Pietersen besluit om die PSMS te laat herleef. Die PSMS het in Oktober 1991 sy 21ste bestaansjaar gevier en is by hierdie geleentheid vernoem na sy stigter en staan sedertdien bekend as die Frank Pietersen Musieksentrum. Sedertdien het die sentrum vele mylpale bereik en sy voortbestaan is verseker deur die oorname daarvan deur die Wes-Kaapse Onderwysdepartement in 1994. Tans bied die FPMS musiekonderrig aan skoliere èn volwassenes, binne en buite die grense van die Drakensteingebied. Onderrig word aangebied in byna al die instrumente van die Klassieke simfonie-orkes, asook Afrika-instrumente en Jazz-instrumente. Daar bestaan verskeie instrumentale ensembles en kore en die FPMS is veral bekend vir sy Jeugorkes. Die sentrum sien ook om na die behoeftes van die omliggende minderbevoorregte gemeenskappe deur middel van uitreikprogramme wat teen billike tariewe aangebied word. Die nuutste toevoeging tot die sentrum se onderrig is die aanbieding van die volwaardige Vakmusiekprogram vir skoliere, wat ook deel vorm van die Wes-Kaapse Onderwysdepartement se program vir Verdere Onderrig en Opleiding. Met hierdie tesis is gepoog om die unieke geskiedenis van die FPMS so deeglik as moontlik na te vors en op skrif te stel, asook om die huidige funksionering van die sentrum te belig sodat dit as riglyn en aanmoediging kan dien vir ander musieksentra of -projekte van ʼn soortgelyke aard.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner. / AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.

Thesis (MMus)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: It is widely accepted that the singer’s formant cluster (Fs) – perceptual correlates being twang and ring, and pedagogically referred to as head resonance – is the defining trait of a classically trained voice. Research has shown that the spectral energy a singer harnesses in the Fs region can be measured quantitatively using spectral indicators Short-Term Energy Ratio (STER) and Singing Power Ratio (SPR). STER is a modified version of the standard measurement tool Energy Ratio (ER) that repudiates dependency on the Long-Term Average Spectrum (LTAS). Previous studies have shown that professional singers produce more Fs spectral energy when singing in ensemble mode than in solo mode; however for amateur singers, the opposite trend was noticed. Little empirical evidence in this regard is available concerning undergraduate vocal performance majors. This study was aimed at investigating the resonance tendencies of individuals from the latter target group, as evidenced when singing in two performance modes: ensemble and solo. Eight voice students (two per SATB voice part) were selected to participate. Subjects were recorded singing their parts individually, as well as in full ensemble. By mixing the solo recordings together, comparisons of the spectral content could be drawn between the solo and ensemble performance modes. Samples (n=4) were extracted from each piece for spectral analyses. STER and SPR means were highly proportional for both pieces. Results indicate that the singers produce significantly higher levels of spectral energy in the Fs region in ensemble mode than in solo mode for one piece (p<0.05), whereas findings for the other piece were insignificant. The findings of this study could inform the pedagogical approach to voice-training, and provides empirical bases for discussions about voice students’ participation in ensemble ventures. / AFRIKAANSE OPSOMMING: Dit word algemeen aanvaar dat die singer’s formant cluster (Fs) – die perseptuele korrelate is die Engelse “twang” en “ring”, en waarna daar in die pedagogie verwys word as kopresonansie – die bepalende eienskap is van ’n Klassiek-opgeleide stem. Navorsing dui daarop dat die spektrale energie wat ’n sanger in die Fs omgewing inspan kwantitatief gemeet kan word deur die gebruik van Short-Term Energy Ratio (STER) en Singing Power Ratio (SPR) as spektrale aanwysers. STER is ’n gewysigde weergawe van die standaard maatstaf vir energie in die Fs, naamlik Energy Ratio (ER), wat afhanklikheid van die Long-Term Average Spectrum (LTAS) verwerp. Vorige studies het getoon dat professionele sangers meer Fs energie produseer in ensemble konteks as in solo konteks, in teenstelling met amateur sangers waar die teenoorgestelde die norm is. Min empiriese data in hierdie verband is beskikbaar, m.b.t. voorgraadse uitvoerende sangstudente. Hierdie studie is daarop gemik om die tendense in resonansie by individue uit die laasgenoemde groep te ondersoek, soos dit blyk in die twee uitvoerende kontekste: ensemble en solo. Agt sangstudente (twee per SATB stemgroep) is geselekteer om aan die studie deel te neem. Die deelnemers het hul stempartye individueel en in volle ensemble gesing, en is by beide geleenthede opgeneem. Deur die soloopnames te meng, kon vergelykings van die spektrale inhoud gemaak word tussen die solo en ensemble konteks. ’n Steekproef (n=4) is uit elke stuk onttrek vir spektrale analise. Die STER en SPR gemiddeldes was eweredig vir beide stukke. Resultate toon dat die sangers beduidend hoër vlakke van spektrale energie in die Fs omgewing produseer in ensemble konteks as in solo konteks vir een stuk (p<0.05), terwyl die bevindinge vir die tweede stuk nie beduidend was nie. Die bevindinge van hierdie studie kan belangrik wees vir die pedagogiese benadering tot stemopleiding, en lewer empiriese basis vir gesprekke oor die betrokkenheid van sangstudente in die ensemble bedryf.

Thesis (M.Mus.)--University of Stellenbosch, 2007. / ENGLISH ABSTRACT: Arnold van Wyk's monumental Night Music is regarded as one of the most important and original South African piano compositions. Night Music offers a legion of untapped timbre possibilities and certainly lends itself to the embodiment of the more expressive and versatile medium of the symphony orchestra. The orchestration of Night Music is an attempt to establish a version which, through utilizing a different medium of presentation, will elucidate Van Wyk's masterpiece and make it more accessible; not as a replacement of the original, but as an enhancement. / AFRIKAANSE OPSOMMING: Arnold van Wyk se monumentale Nagmusiek word as een van die belangrikste en oorspronklikste Suid-Afrikaanse klavierkomposisies beskou. Nagmusiek bied 'n legio onontginde timbremoontlikhede en leen hom dus beslis tot die vergestalting daarvan in die meer uitdrukkingsvolle en veelsydige medium van die simfonie-orkes. Die orkestrasie van Nagmusiek is 'n poging om 'n weergawe daar te stel wat by wyse van 'n ander uitbeeldingsmedium Van Wyk se meesterstuk toelig en meer toeganklik maak, nie as plaasvervanger van die oorspronklike nie, maar as verlengstuk daarvan.

Thesis (PhD)--Stellenbosch University, 2012. / Sensitive areas within this text have been blacked out. Please refer to the attachment. / ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated. / AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: The current study documents the procedures used by the South African Broadcasting Corporation (SABC) from 1974 to 1996 in the censorship of music. The disquisition argues that the SABC, as a national broadcaster, served as the most prominent censor of musical production and dissemination during that time. In addition, the study attempts to show that the censorship of music by the SABC was inherently connected with apartheid ideology in both moral and political terms but also that the SABC Acceptance Committees for radio broadcasts attempted to align themselves with more general state methods of censorship (although often inconsistent). This relationship, although not directly connected with the state censorship apparatus, functioned as the state's chief censor in the restriction of music. The study reports on a visit to the SABC Radio Library and Sound Archives in February 2012 and provides an analysis and discussion of documents found in the archive as well as how these findings relate to the broader arguments supplied in the thesis. / AFRIKAANSE OPSOMMING: Die huidige studie dokumenteer die prosedures wat deur die Suid-Afrikaanse Uitsaaikorporasie (SAUK) tussen 1974 en 1996 in die sensuur van musiek toegepas is. Die tesis argumenteer dat die SAUK, as nationale uitsaaier, tydens hierdie periode die belangrikste agent van musieksensuur was. Verder poog die studie om te bewys dat die sensuur van musiek deur die SAUK inherent met apartheidsideologie in beide morele en politiese terme verbind was, maar ook dat die SAUK Aanvaardingskommittees vir radio-uitsending probeer het om meer formele sensuurregulasies in stand te hou. Hierdie verhouding tussen die SAUK en die staat, alhoewel dit nie die SAUK direk met staatssensuur koppel nie, het beteken dat die SAUK as die staat se hoofsensor gefunksioneer het in die beperking van musiek. Die studie doen verslag van 'n besoek aan die SAUK Radio Biblioteek en Klankargiewe in Februarie 2012 en voorsien 'n uiteensetting en bespreking van dokumente wat in die agief gevind is, asook hoe hierdie bevindinge veband hou met die breër argument oor sensuur en musiek wat in die tesis ontwikkel word.

This study explores the impact of the counter culture on students at two Anglophone universities in the 1960s and 70s. It focuses on the social and historical differences that predisposed English speaking youth to metropolitan based cultures. It explores this in the context of a lack of identity with the dominant culture of apartheid. The study examines the method of transmission, absorption, translation and incorporation of the counterculture and the New Left. The factors that highlighted the differences between South African students and their counterparts abroad are seen not only in their access to technology but also in the nature of their relationship to power both political and educational. The importance of understanding what bred different responses to similar stimuli assists in understanding the process in which the global became local. It is argued here that the attraction of the counterculture lay in the broader cultural scope it gave to expressions of difference and resistance as a response to the rigid and continuous expansion of punitive measures by the apartheid government. The persistence through the 1960s of a liberal framework is examined in the context of a response to these measures as well as a failure to move beyond the racial foregrounding of the political system. The influences of events in the USA, UK and France in 1968 are seen in the context of their importance in South Africa as a catalyst to practical and theoretical change. The significance of individuals as translators of the discourses of the New Left is paralleled in examinations of South African musicians whose lyrics and compositions carried both the ideas of the counter culture as well as expressed responses and issues shared by their audiences. The importance of the coalescing of both the New Left and the counterculture are evident in the early 1970s. Students adopted a Marxist framework within which to analyse South Africa, and the methods of the New Left in France in seeking alliances with workers. This practical approach was an example of the global becoming local and introduced those with access to privileged white education into a reexamination of the role of education in changing society. The counterculture expressed itself in the adoption of both cultural and educational methods of focusing on change as a response both to students relationship to power as well as to the emphasis of the 1960s on a broader more individually expressed ability to embrace change and new values. The study concludes that the framework of the New Left when employed in redefining South African history was central to a process of both economic and cultural change within the country. The absence of a strongly expressed identity suggests the widespread appeal of the central values of the counterculture which emphasized distance and disaffiliation from the dominant culture. The opportunity offered by this position is seen as a response to the political expressions of a racially defined student body against a less obvious but significant change in the definition and role of tertiary education and cultural institutions. / Theses (Ph.D)-University of KwaZulu Natal, Durban, 2010.

Frederic Chopin's contemporaries took note of his preference for a piano with a light escapement. They commented that his method of playing was light in touch, and that his demeanor on stage contrasted strongly with that of other performers who were outwardly expressive. Although his performances enjoyed support from some members of his society, most contemporary commentators viewed his performances negatively. His performances were seen as deficient when they were contrasted with those of others, and especially those of Franz Liszt. Some of Chopin's contemporaries saw his playing as feminine and contrasted his works with those of Beethoven, whose works seemed to them to express masculinity. Negative assessments of Chopin's works also appear in later critical and musicological literature. In 1889, the music critic Henry T. Finck suggested that the desire of French, Polish, German and Viennese audiences for what he called "aesthetic jumboism" was detrimental to Chopin's popularity. It is my thesis that smallness has been, and often still is, associated with femininity and that those pianists and authors who advocated largeness - however defined (be it 'grand,' 'healthy,' 'forte,' or 'masculine') - were afraid that Chopin's refined pianism and the "small" aspects of his compositions might be used as evidence that Chopin was not strictly heterosexual. Largeness seems to have been linked in a number of ways to heroism, and it seems that smallness was seen consequently as lacking in heroism. Thus, musicians and musicologists have criticized his works for their lack of complexity and length and for the nature of their melodies, characteristics that I show to have been associated with both size and masculinity. For example, in 1986, Jean-Jacques Eigeldinger analyzed Chopin's compositions in a way that seems to me to reveal Eigeldinger's own search for complex underlying forms. This search appears to be an attempt to illustrate that Chopin was intellectually 'heroic' because he could match the organic unification that some musicologists find in the works of other great composers. While the nineteenth-century development of the piano into a powerful concert instrument undoubtedly reflected the changing nature of concert venues and audiences, since recitals moved from the salon to the concert hall, the changes in design could also been seen as reflecting an ever-increasing desire for largeness. The forcefulness and consequent loudness with which Chopin's music was played on these larger pianos might well have caused (and could still be causing) some pianists' physical problems. Jeffrey Kallberg has analyzed an array of gender-oriented metaphors in relation to Chopin's possible gender-ambiguity, wishing to remove the veil of suspicion that surrounds smallness. It is my argument that a veil of suspicion is indispensable when analyzing the language that people have used to describe their experiences with music, because they have used language to express their preferences for certain kinds of experiences. Thus I attempt to show that during the hundred and fifty years since Chopin's death, both pianists' performance practices and musicological discourse have attempted to cleanse Chopin's music from its associations with smallness and, consequently, with femininity. / Thesis (Ph.D.)-University of Natal, Durban, 2004.

This thesis is an ethnography of mhande dance as a dynamic phenomenon that enunciates Karanga belief and normative values that are enacted through performance of mhande dance in its chief indigenous contexts: the kurova guva (settling the spirit of the dead) and the mutoro (rain making) rituals. Approached from an emic perspective, the study draws data from field research conducted between 2008 and 2010 among the rural Karanga of Shurugwi District in Zimbabwe. This study is an explication of mhande dance which provides the reader with cognitive understanding of the indigenous spiritual dance that embraces music, dance and gestures. The dance features both symbolize and spiritualize Karanga culture. Karanga scheme of reality (chivanhu) embodies two worlds: the natural and the supernatural in which the natural is explained by the supernatural. The supernatural is the world of the spirits with God (Mwari) being the Supreme Spirit. According to the Karanga, the deceased become spirit beings that maintain the quality of life of their human nature. Thus the Karanga spiritual world is populated with good and bad spirits where the good are referred to as ancestors (vadzimu) and the bad are identified differently; for example, sorcerers (varoyi) , alien (mashavi) and avenging spirits (ngozi). The Karanga believe in God who they venerate through their ancestors. Ancestors are empowered to overcome bad spirits and hence their siblings appease them in order that the spirits assist the humans to deal with challenges of life for which the natural world provides no solution. Karanga reality of the existence of spiritual beings is made to be a part of everyday life through the conduct of spiritual ritual ceremonies: kurova guva and mutoro wherein the performance of mhande dance occasions spirit possession. Thus, through its efficacious and symbolic features, mhande dance is experienced reality of Karanga epistemology (chikaranga). / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2011.

Handel's Messiah occupies a unique position in the musical life of South Africa. No item from the canon of 'classical' European choral music has been performed more often, over a longer period of time, and in a wider range of social contexts. This thesis seeks to answer two broad and interrelated questions: what were the social processes which brought this situation about; and how were perceptions of Messiah's meaning affected by its performance in social contexts markedly different from those of its origins? I concentrate on the two South African choral traditions for which Messiah has been central- those of the 'English' and 'African' communities - and on the period from the first documented performance of any item from Messiah until the emergence of a pattern of annual performances, which I take as a significant indicator of the historical moment at which the music could be regarded as firmly established in its new context. The history of Messiah's performance and reception in South Africa is traced using previous research on South African musical history and my own archival research and interviews. Following the broad outline of 'depth hermeneutics' proposed by John Thompson, I regard performances of Messiah as symbolic forms in structured contexts, and I interpret them through an analysis of relevant aspects of Jennens's libretto and Handel's music, of the discourse that surrounded the performances (where examples of this have survived), and of the social contexts and processes in which the performances were embedded. In examining the interactions of these different aspects, I draw on a variety of theoretical and methodological strands within musicology, cultural studies, and South African historical research. The cultural value accorded to Messiah emerges as a central theme. As a form of symbolic capital highly valued by dominant groups (the 'establishment') in the relevant South African contexts, it became an indicator of 'legitimate' identity and therefore of status. For both the English settlers and the emerging African elite (the primary agents in the establishment of Messiah in South Africa), it could represent the cultures in relation to which they defined themselves, towards which they aspired and within which they sought recognition: respectively, those of the metropole and of 'Western Christian civilization'. In political terms, this had the potential both to reinforce existing patterns of domination and to challenge them. Examples are given of the ways in which, at different moments in its South African history, Messiah was mobilized to support or to subvert an established political order, as a result of the specific meanings that it was understood to convey. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2008.