Thesis (M.M.)--University of Michigan, 1971.

Thesis (M.M.)--University of Michigan, 1971.

Thesis (MMus (Music)) -- Stellenbosch University, 2010. / ENGLISH ABSTRACT: The purpose of the present study is twofold: I. In the first instance, it is aimed at promoting a better acquaintance with and a deeper understanding of the generally less well-known solmisation systems that have emerged within the oriental music sphere. In this regard a general definition of solmisation is provided, followed by a historic overview of indigenous solmisation systems that have been developed in China, Korea, Japan, India, Indonesia and the Arab world, thereby also confirming the status of solmisation as a truly global phenomenon. II. The second objective of the study was to investigate the current use of solmisation, and the Tonic Sol-fa system in particular, in aural training at South African universities. In order to achieve this, an inquiry was conducted by means of a survey which consisted of (a) a survey questionnaire that was sent to designers/instructors/coordinators of aural training modules at relevant South African universities and (b) additional correspondence that was subsequently undertaken with some of these respondents. This was done with the aim of obtaining information regarding the following: (1) the extent to which solmisation is still being employed in this context; (2) which solmisation systems or alternative approaches to solmisation are being used; (3) what the respondents’ personal motivations are for employing or not employing solmisation; (4) what instruction material is being utilised in either regard; and (5) what the respondents’ personal views are regarding the use of solmisation in aural training. The outcome of the survey confirmed that solmisation, and the Tonic Sol-fa system in particular, is still actively being used in aural training at South African universities, while at the same time providing some insight into the general application thereof in this context. On the whole, the survey also affirmed the continued relevance of solmisation, and the Tonic Sol-fa system in particular, both in the broader South African context and specifically within the context of aural training at South African universities, showing that solmisation continues to be regarded as a valuable aid in the instruction of aural training by the majority of the designers/instructors/coordinators of aural training modules that participated in the survey. / AFRIKAANSE OPSOMMING: Die doel van die onderhawige studie is tweeledig van aard: I. In die eerste plek is dit gemik op die bevordering van beter vertroudheid met en ’n grondiger begrip van die oor die algemeen minder bekende solmisasiestelsels wat binne die konteks van oosterse musiek na vore getree het. In hierdie verband word daar ’n algemene omskrywing van solmisasie voorsien, gevolg deur ’n historiese oorsig oor inheemse solmisasiestelsels wat ontwikkel is in China, Korea, Japan, Indië, Indonesië en die Arabiese wêreld, en word die status van solmisasie as ’n wesenlik wêreldwye verskynsel dan ook daardeur bevestig. II. Die tweede doelwit van die studie was om ondersoek in te stel na die huidige gebruik van solmisasie, en die Tonic Sol-fa stelsel in besonder, in gehooropleiding aan Suid-Afrikaanse universiteite. Om dit te bewerkstellig, is ’n ondersoek uitgevoer deur middel van ’n opname wat bestaan het uit (a) ’n opnamevraelys wat gestuur is aan opstellers/dosente/koördineerders van gehoorlopleidingsmodules aan relevante Suid-Afrikaanse universiteite en (b) bykomende korrespondensie wat daaropvolgend onderneem is met van hierdie respondente. Dit is gedoen met die doel om inligting te bekom rakende die volgende: (1) die mate waarin solmisasie nog binne hierdie konteks gebruik word; (2) watter solmisasiestelsels of alternatiewe benaderings vir solmisasie gebruik word; (3) wat die respondente se persoonlike motiverings is vir die gebruik van solmisasie al dan nie; (4) watter onderrigmateriaal daar in beide gevalle gebruik word; en (5) wat die respondente se persoonlike sieninge is ten opsigte van die gebruik van solmisasie in gehooropleiding. Die uitslag van die opname het bevestig dat solmisasie, en die Tonic Sol-fa stelsel in besonder, steeds aktief gebruik word in gehooropleiding aan Suid-Afrikaanse universiteite, en het terselfdertyd insig gebied in die algemene aanwending daarvan binne hierdie konteks. In sy geheel het die uitslag van die opname dan ook die voortgesette relevansie van solmisasie, en die Tonic Sol-fa stelsel in besonder, in die breër Suid-Afrikaanse konteks sowel as spesifiek binne die konteks van gehooropleiding aan Suid-Afrikaanse universiteite bevestig, en het dit aangetoon dat solmisasie steeds as ’n waardevolle hulpmiddel in die onderrig van gehooropleiding beskou word deur die meeste van die opstellers/dosente/koördineerders van gehoorlopleidingsmodules wat aan die opname deelgeneem het.

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda). / Art history, Visual Ars and Musicology / D. Mus

Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works. My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana. Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity. The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda). / Art history, Visual Ars and Musicology / D. Mus