Chorale and psalm intabulations were an integral part of the German repertory for lute, both in print and in manuscript, from the beginnings of the Reformation through the seventeenth century. While these works are regularly present, if in modest proportion, in extant sources through the period, the study of these intabulations remains a lacuna in the scholarly literature. The repertory, however, is an important topic for study as it reflects key aspects of Early Modern life for devout Lutheran households: debates over orthodox and Pietist theology, private devotion and the use of domestic space, conservatism versus progressive musical approaches, and the intersection between instrumental practices and traditions of Protestant sacred song. In an effort to address this lacuna, this study catalogs chorale and psalm intabulations for lute in both print and manuscript from the early sixteenth century to the emergence of Pietism. Most importantly, it attempts to provide a context for the performance of this repertory, arguing for an assessment of lute chorales and psalms as a crucial part of domestic devotional practice.

Johann Sebastian Bach used his own organ compositions when teaching his students. Seeking to understand and learn from Bach's organ pedagogy, many scholars have sought to establish a list of Bach's organ works according to difficulty. These arranged lists are briefly summarized in chapter two of the present thesis, and it is shown that none of them have sufficiently explained the rationale for deciding difficulty. Chapter three establishes and describes criteria according to which Bach's organ works can be analyzed. Chapter four demonstrates how these criteria are to be applied within a selected corpus of J.S. Bach's organ works, the Leipzig versions of the Great Eighteen Chorale Preludes. The criteria and resulting arrangement according to difficulty answer a problem within Bach scholarship by providing an objective standard by which teachers and students can select level-appropriate works for purposes of learning and performance.

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L'autisme est un trouble neurodéveloppemental qui affecte environ 1% de la population mondiale. Les manifestations de ce trouble touchent particulièrement les sphères sociales et langagières. Plusieurs méthodes d’intervention ont été développées pour pallier les défis rencontrés par ces personnes. Des méthodes artistiques, comme la musique, ont également été considérées. Différentes interventions et programmes musicaux ont été implantés auprès des populations autistes afin d’en observer les effets sur leur développement social. Cependant, parmi ces interventions, les activités de chant en groupe ont été peu exploitées. L’objectif de ce mémoire était de comprendre en quoi une activité parascolaire de chant choral peut contribuer au développement des habiletés sociales d’enfants autistes. La méthodologie de l’étude de cas qualitative a été privilégiée afin de répondre à ce questionnement. Trois enfants ayant un TSA âgés de 6 à 12 ans ont été recrutés. Ces derniers participaient à une activité parascolaire de chant choral au sein de leur école spécialisée. Des observations ont été faites lors des séances de chorale à l’hiver 2020. La pandémie mondiale de la Covid-19 a cependant forcé la fermeture des écoles. C’est pourquoi seulement quatre séances d’observation ont été menées. Selon l’analyse des résultats, la chorale semble être un contexte où les enfants peuvent satisfaire leur curiosité sociale. C’est également un endroit où les comportements stéréotypés s’expriment dans une moindre mesure et où les enfants peuvent se familiariser aux changements dans un contexte sécurisant. Des pistes de recherche sont également formulées à la fin de ce mémoire. / Autism is a neurodevelopmental disorder that affects 1% of the world's population. The manifestations of this disorder particularly affect the social and language spheres. Several intervention methods have been developed to alleviate the challenges encountered by these individuals. Artistic methods, such as music, have also been considered. Various interventions and musical programs have been presented to autistic populations in order to observe their effects on their social development. However, among these interventions, a group singing activity was little exploited. The objective of this dissertation was to understand how an extracurricular choral activity can contribute to the development of social skills in children with autism. The methodology of the qualitative case study was favoured in order to answer this question. Three children with ASD aged 6 to 12 years were recruited. These children participated in an extracurricular choir activity at their special school. Observations were made during choir sessions in the winter of 2020. However, the global Covid-19 pandemic has forced the closure of schools. Therefore, only four observation sessions were conducted. According to the analysis of the results, the choir seems to be a context where children can satisfy their social curiosity. It is also a place where stereotypical behaviours are expressed to a lesser extent and where children can become familiar with changes in a safe context. Research avenues are also formulated at the end of this paper.

Christianity has two kinds of public prayer: one involves only words, and the other uses music. These public prayers have been evolving since the earliest writings of the Bible and continue to the present day. Often times, music can be seen in the Bible as a powerful way to bring people together or teach lessons. However, in the history of Christianity, music has also served as a dividing force, separating churches and indirectly encouraging the development of new denominations. During the sixteenth-century Reformation, reformers such as Martin Luther and John Calvin were dissatisfied with the way that the Roman Catholic Church was operating. Musical disagreements and debated theological matters eventually led to Protestant Christianity as separate from the Roman Catholic Church. This thesis will evaluate these sixteenth-century reform debates, especially the viewpoints of Martin Luther and John Calvin. With the transition of these branches over to the Unites States, continual divisions have led to further development of denominations including the modern Baptists and Reformed Baptists. Through evaluating primary sources from these reformers, comparative analysis of their theological beliefs, and analysis of the musical structures of their compositions, this thesis seeks to understand the continued divisions within the Protestant church. An ongoing reform continues among Protestant and Reformed churches, and this project will show that these debates are likely to continue as modern Protestant believers evolve and seek relevant ways to worship through music.

Ce travail propose une étude du domaine de la direction de chœur. Il est centré sur les compétences du chef et les conditions d’une performance optimale, selon attentes déclarées des acteurs du monde choral. Il s’agit de compétences souhaitées par les choristes et les chefs. Les questions du répertoire, du contexte social et historique de la direction sont abordées, ainsi que les aspects épistémologiques de l’interprétation musicale. Les origines du concept de compétence, son évolution, son approche selon différentes perspectives, son emploi pédagogique précèdent l’observation empirique qui prend la forme d’une enquête menée sur un vaste échantillon dans six pays : l’Allemagne, l’Autriche, l’Espagne, les Etats-Unis, la France et le Venezuela. L’analyse critique donne une image psychologique des compétences du chef, décrit sa position culturelle et sa performance dans le contexte social. En découlent des considérations liées à l’héritage historique de la direction de chœur et une réflexion relative à la formation du chef. / The work consists in a study related to the field of choral direction. The study focuses on the competences and the conditions of choir directors to achieve optimum performance in the opinion of constituents of the choral world as desired by choir members and directors. Choice of repertoire, social and historical context of choral direction, and epistemological issues of the musical interpretation have been addressed.The origins of the concept of competences, their evolution and approach according to different perspectives and their educational use precede the empirical observation. The latter study consists of a wide survey in six countries, namely Austria, France, Germany, Spain, United States of America and Venezuela. The critical analysis of this study reflects the psychological image of choir director’s competences, describing the cultural position and its performance in the social context. This study triggers assumptions relating to the historical legacy of choral direction as well as a framework of considerations related to the professional qualification of choir directors.

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In text linguistics coherence is seen as one of the key factors in communication and textual interpretation. Text linguistics, as an inter-disciplinary field of study concerning the textuality of texts in conjunction with coherence, can probably be of great importance in current musicology, especially as the problem concerning musical meaning, is still an ongoing debate. The design of a musical model of coherence relations is a new field of study and can not be connected to present day language models, therefore a new model should be invented. It should be kept in mind that adaptations in text linguistics can be of great influence in musicology today and on music in its relation to language. Musical interlocution forms the basis for musical coherence relations as method of musical communication. Musical communication has its origin in the top/cohesive surface of the musical text and disseminates to the lower/coherensive surface of the musical text. Although there is an interaction between musical cohesion and coherence, coherence relations are more concentrated on the lower level. Musical illocution and musical blended perlocution function within the coherensive musical and word texts. The listener plays a big role in this process, because musical coherence is the platform for musical interpretation. As listeners design a word text around the music text, musical blended perlocution through association results. The addition of associative meaning to the musical text has the result that the linguistic perlocution and the musical perlocution intermix with one another. One must keep in mind that perlocution differs in language and music. It will be indicated that musical coherence relations have a dual character. It will be argued here that the principles of musical textuality, adjusted from those text linguistically practised by De Beaugrande&Dressler (1981) and Carstens (1997, 2000, 2009), as well as the three musical functions, adapted from Austin's (1962) determination in language, figure strongly in J.S. Bach's Schübler Chorales. / Thesis (DMus)--University of Pretoria, 2009. / Music / unrestricted