During the mid-thirties, a tradition of music-making began amongst South Africans of Indian origin that dominated the cultural life of the majority of Indian South Africans for about forty years. This study concerns itself with the ways in which this tradition - the Indian orchestral tradition as it is referred to by its participants was practised amongst Indian South Africans in Durban. The study examines the factors that created and sustained the tradition. Areas that come under focus during the course of the presentation include: the contributions made by individual personalities and institutions to the development of Indian popular music generally, and to orchestras. specifically; the various locations in and around Durban where this type of music-making was most prevalent; and the manner in which environmental factors affected the development of orchestras. The theoretical basis for this research has been drawn from principles in oral history and ethnomusicology. The study locates the orchestral tradition within Eric Hobsbawm's understanding of traditions and of the ways in which they are created and perpetuated. Further, since the presentation involves the extensive use of oral evidence, photographs, posters and related memorabilia, Paul Thompson' s methods of collecting and interpreting such data are used. / Thesis (M.Mus.)-University of Natal, Durban, 1996.

An Analytical System for Electronic Music is a systematized method for the analysis of an electronic work and is directed towards making electronic music (E. M.) more accessible to the general audience and the experienced analyst.The uniqueness of E. M. is characterized by new sonic materials. These new sonic compositions require new methods of analysis. Because electronic music composition is sound dependent, a look at the surface, syntax, and the way in which the different hierarchical levels interact had to be considered. The word "topography" was adapted to conceptualize the formal and structural principles of the medium.In most cases scores are not available for electronic music compositions.Because of this, new perceptual and cognitive capabilities are required by both the analyst and appreciative listener.In E. M., pitch, duration, loudness, timbre, and the spatial properties of sound have an equal potential to be the primary generator of the musical material. The Analytical System assists the analyst in identifying significant musical events in any parameter. Pitch-contour, vertical-density, attack-density, dynamic-contour, timbral-characteristics, and spatial-location graphs are integral components of the method. Adaptable to any hierarchical level, the graphs clearly depict the sonic activity. With the addition of a detailed graphic representation of the significant musical events and objective verbal descriptions, an electronic work can be accurately recorded in sufficient detail to allow indepth analysis.The System is purposefully broad in its approach to the individual electronic work. It has been devised to be applicable to the many diverse styles of the medium. The method of analysis will easily guide the analyst through a large portion of the literature of electronic music.

This study seeks to examine the history of the ricercare, specifically in the baroque era. In this work, all types of keyboard compositions that utilize imitative counterpoint have been examined. Late baroque fugues have been examined to determine which characteristics of the earlier ricercare remained in general use and which specific compositions contain elements causing them to resemble strongly the parent form.

Weddings have always been an indispensable and auspicious part of Hindu life both in South Africa and in India. This study is an examination of one aspect of Hindu weddings, viz. the vocal and sometimes instrumental recital of songs of blessing and praise. These songs are known as mangalams and have evolved in South Africa in the last century due to various factors. Analysis of the mangalam enables us to understand how traditions and customs continue and change in accordance with changing circumstances. Much of the data presented in this thesis has been gleaned from oral sources and, as such, the methodology of oral history has been extremely influential in the shaping of this dissertation. / Thesis (M.Mus)-University of Natal, Durban, 1999.

Text in Afrikaans / Binne die bestek van ses jaar, het drie Klasmusieksillabusse vir die sekondere skool, te wete die van Kaapland (1986), Transvaal (1991) en Skotland (1992) verskyn. Elk van hulle toon 'n unieke karakter ten opsigte van doelstellings, leerinhoud, ensovoorts. Dit het die vraag laat ontstaan watter van die sillabusse binne die raamwerk van wetenskaplik geselekteerde kriteria ontwikkel is en of hulle gevolglik wel didakties-pedagogies verantwoordbaar is. Die drie Klasmusieksillabusse is teen 'n agtergrondstudie van Klasmusiek in didakties-pedagogiese asook leerpsigologiese verband geanaliseer aan die hand van die didaktiese vereistes waaraan 'n vakkurrikulum behoort te voldoen. Die aanbevelings wat gemaak is, wil verseker dat 'n sillabus tot stand kom wat aan die wetenskaplike vereistes van kurrikulering voldoen, waarvan die doelstell ings deur die onderwyser verwerklik kan word en wat die leerder tot optimale leer kan voer. / In the scope of six years, three Class Music syllabi appeared, namely that of the Cape Province (1986), Transvaal (1991) and Scotland (1992). Each of these syllabi have a unique character with regard to aims, learning content, etc. This gave rise to the question whether these syllabi were developed within the framework of scientific selected criteria and whether they can be didactic-pedagogically accounted for. These Class Music syllabi were analysed against a background study of Class Music in didactic-pedagogical and learning pshycological perspective as well as the didactical requirements with which a subject curriculum should comply. The recommendations were aimed to ensure a curriculum document which complies with the scientific requirements of curriculum theory, which is attainable for the teachers and which takes the expectations of the learners into account. / Art History, Visual Arts & Musicology / M. Ed. (Didactics)

Text in Afrikaans / Die doel van hierdie verhandeling is om die opvoedkundige en artistieke waarde van klavierwerke, wat vir die Universiteit van Suid-Afrika (hiema UNISA) se musiekeksamens voorgeskryf is, uit te lig. Die eerste hoofstuk gee 'n beknopte oors1g van die geskiedenis van UNISAmusiekeksamens. In die tweede hoofstuk word geselekteerde werke ontleed en geevalueer. Daarna volg drie bylaes wat die volgende inligting bevat: Bylae 1 'n V olledige lys van alle werke wat tot 1990 gekomponeer is vlf UNISA se klaviereksamens, volgens komponiste gerangskik. W erke word alfabeties ingedeel volgens die komponis en datums word voorsien van wanneer die werk gekomponeer en voorgeskryf is. Werke wat nie in hierdie verhandeling ontleed is nie, word met 'n asterisk aangedui. Bylae 2 'n Volledige lys van alle werke wat tot 1990 gekomponeer is Vlf UNISA se klaviereksamens, volgens grade ingedeel. Komponiste word graadsgewys alfabeties gerangskik. Bylae 3 Kort biografiese sketse van die komponiste gedek in hierdie verhandeling ter inligting van leerlinge en onderwysers. Komponiste word alfabeties gerangskik. In hierdie verhandeling is slegs navorsing gedoen met betrekking tot die klavierwerke. W erke van ander instrumente is nie nagevors nie. Veertig komponiste se werke word gedek. Meer as eenhonderd en dertig stukke is versamel. Die ontleding van al hierdie werke sou te veel wees vir die omvang van hierdie verhandeling en is daar dus geselekteer. Seleksie het plaasgevind op grond van: Eksamengraad Daar word op laer grade gekonsentreer (V oorgraad 1 tot graad 5) omrede dit juis gedurende hierdie aanvangsonderrig is waar die liefde en belangstelling vasgele word vir die aanleer van werke uit eie bodem. Twee vorige verhandelings oor Suid-Afrikaanse klavierwerke ontleed oorwegend werke van hoer grade. Die navorser verwys hier na verhandelings van Rosemary YA Maritz en CL Venter (volledige verwysing in bibliografie). Moeilikheidsgraad Stukke wat makliker hanteerbaar is vir die leerling, het voorkeur geniet. Geen werke van graad 8 en die Onderwyslisensiaat of Voordraerslisensiaat word ontleed nie. Enkele werke van grade 6 en 7 word egter ook ontleed. Die ontleding en evaluering van die werke word alfabeties, volgens komponiste, ingedeel. In die ontleding word daar gelet op aspekte wat van opvoedkundige en artistieke waarde vir die jong leerling sal wees. Dit word ook bedoel as aansporing vir die onderwyser om van die werke aan die leerling te leer. Al die werke (voorgraad 1 tot graad 7) is bekombaar van die Argief in die biblioteek van die Universiteit van Suid-Afrika. Sommige onderwysers mag nog van die ou eksamenbundels in hul privaat versameling he. Dit sou egter 'n groot aanwins wees indien al hierdie musiek beskikbaar sou wees in een bundel. Onderwysers sou dan meer gereeld van die werke in die jong leerling se repertorium kon insluit. Die navorser vertrou dat die benadering van hierdie verhandeling, wat konsentreer op interessante opvoedkundige aspekte, die leerkrag sal voorsien van voldoende motivering om van die ryke erfenis uit eie bodem gebruik te maak, sodat dit nooit verlore mag gaan nie. / Art History, Visual Arts and Musicology / M. Mus.

No description available.

Flamenco is a passionate style of song and dance accompanied by guitar. Its origin may be traced to the Moorish occupation of Spain, which began in the eighth century, and it continues to flourish in the southern Spanish region of Andalucia. This treatise will explore the structure and character of Flamenco and show how it influenced the twentieth-century Spanish classical composer Joaquin Turina in his five guitar works:(UNFORMATTED TABLE FOLLOWS): Fantasía Sevillana, Op. 23 (1923). Fandanguillo, Op. 36 (1926). Ráfaga, Op. 53 (1930). Sonata, Op. 61 (1931): Allegro, Andante, Allegro vivo. Homenaje a Tárrega, Op. 69 (1932): Garrotin, Soleares. (TABLE ENDS)

It is the purpose of this thesis to present a study of the development of writing for the clarinet in chamber music during the period from Mozart (1756-1791) through Brahms (1833-1897). The first part is a brief history of the clarinet showing the stages of development of the instrument from its beginning to its present form and also surveys the field of chamber music in general, with special attention to the chamber music for the clarinet, and to the performers for whom many of these works were written.

No description available.