Spelling suggestions: "subject:"composer -- south africa""
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Die komposisies vir klarinet van Suid-Afrikaanse komponisteHartshorne, Leon Andre 12 1900 (has links)
Thesis(MMus.) -- Stellenbosch University, 1989. / ENGLISH ABSTRACT: In the past, clarinet students and lecturers experienced problems in obtaining
works of South African composers. They also did not always know how to ascertain
what is in existence. Practical experience is obviously the ideal way for
a clarinet student to get to know composers and their styles. Therefore,
it is desirable that a literature study of South African composers be at
their disposal. The main purpose of this thesis is thus to acquaint
clarinettists with all the available works composed in South Africa for clarinet
which up to the present have been inaccessible.
The purpose of this thesis is not to make a critical style analysis of the
works. This thesis is a presentation of works which have been unknown up
to the present, and could therefore be viewed as an annotated catalogue.
The discussion of the works has been structured in such a way that the intending
student will be guided to a better insight in the works. Ample use has been
made of examples to highlight those factors pertaining to the performance
and tuition of these compositions.
Before discussing each work, a short biography of each composer is given to
date and identify the composer. At the end of each discussion, reference
is made to the suitability for performance and/or examination of each composition.
Finally, a summary (Chapter 3) indicates which works are best suited for
examination purposes, and which ones better suited for concert programmes. / AFRIKAANSE OPSOMMING: Klarinetstudente en -dosente het in die verlede gesukkel om beskikbare
werke wat in Suid-Afrika geskryf is te vind. Hulle het ook nie geweet
hoe om vas te stel wat wel beskikbaar is nie. Praktiese ervaring is
uiteraard die ideale manier waarop enige klarinetstudent komponiste en hulle
stylkenmerke kan leer ken. Daarom is dit wenslik dat n literatuurstudie
van Suid-Afrikaanse komponiste tot hulle bekikking is. Die belangrikste
doelwit van hierdie tesis is dus om die meeste beskikbare werke wat in
Suid-Afrika vir die klarinet gekomponeer is en tot dusver vir baie klarinettiste
ontoeganklik was, bekend te stel.
Die tesis se doel is nie om stylkritiese-analise van die werke te doen nie.
Dit is eerder n bekendstelling van werke wat tot dusver onbekend was en kan
as 'n geannoteerde katalogus beskou word. Die bespreking van die werke is
so saamgestel dat die voornemende student gelei word tot groter insig daarin.
Daar is van heelwat voorbeelde gebruik gemaak om die faktore wat op die voordrag en onderrig van die werke betrekking het, uit te lig.
Voor die bespreking van elke werk word n kort biografie van elke komponis
gegee om die komponis in n tydperk te plaas en te identifiseer. Na elke
bespreking word daar verwys na die geskiktheid van die betrokke komposisie(s)
ten opsigte van konsertuivoering en/of eksamens.
Ten slotte is daar n opsomming wat aandui watter werke die geskikste vir
eksamendoeleindes is en watter eerder geskik is vir konsertprogram.
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An Investigation of selected flute compositions by composers resident in South Africa.Smith, Ian Wesley Ruthven. 17 May 2013 (has links)
This research briefly analyses and evaluates selected compositions for
flute solo and flute and keyboard in terms of compositional techniques ,
formal, structure, technical difficulties and problems of performance .
The works selected for discussion in this thesis are those of South
African-born composers and composers of other nationalities who are resident
in South Africa.
Six compositions for solo flute and sixteen compositions for flute and
keyboard by the following composers have been discussed:
Robert Clough
Stefans Grove
David Hoenigsberg
Christopher James
Dirk de Klerk
David Kosviner
Bernard Langley
Petrus Lemmer
Jacques de Vos Malan
Norbert Nowotny
Hubert du Plessis
Walter Swanson
Arthur Wegelin
Jeanne Zaidel-Rudolph
Paul Loeb van Zuilenberg
The aim of the research is primarily to discover and promote little known
flute compositions by composers resident in South Africa. These works
have been graded as to their suitability for either the concert platform
or for educational purposes. / Thesis (M.Mus.)-University of Natal, Durban, 1986.
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A critical analysis of selected piano works by Hubert du PlessisLee, Margaret Jackson January 1991 (has links)
This study concentrates on the piano music of Hubert du Plessis, a South African composer who, apart from some years spent studying in England, has lived and worked in this country. He was born in 1922 on a farm in the Malmesbury district. After completing his schooling, he studied at the University of Stellenbosch , gaining a B A degree. Later, he continued his studies at Rhodes University, obtaining a B Mus degree. The Performing Right Society's scholarship gave him the opportunity of studying in London for three years (1951-1953). After his return, he became involved in the academic sphere, and lectured simultaneously at U C T and Stellenbosch, and then later just at Stellenbosch until his retirement in 1982. A number of his compositions for piano are as yet unpublished. This thesis has been limited to the published works for solo piano . The works studied are: Four Piano Pieces (Op. 1 ), Six Miniatures (Op. 3 ), Sonata No . 1 (Op. 8 ), Seven Preludes (Op. 18), Toe ek 'n kind was (Op. 33). Some biographical details have been given - in most cases to provide the background for the writing of each work - but the main thrust of this study has been towards a detailed structural analysis of each work. In my analysis, I have favoured the type of "Formal analysis" defined by Groves¹ in the article on analysis. In other words, I have used the traditional structural patterns i.e. Binary and Ternary form , Sonata form etc. insofar as it applied to the music under discussion. However, I felt that this was not sufficient for a study in depth of the music, as I had envisaged. Like Beethoven, du Plessis is a meticulous craftsman, who constructs and re- constructs , revises and rethinks. This means that the fullest attention is given to every detail of composition. Hence, like Tovey in his analysis of Beethoven sonatas, I have tended towards a bar-by-bar approach which, I hope, will reveal not only the structural detail, but also the relationships between phrases and motifs, where this is relevant. I felt that it was imperative to take this down to the real fundamentals, for without that basic approach, certain compositional techniques might be overlooked. Hence, I then hoped to draw some general conclusions about du Plessis' work. Groves¹ says of Tovey's method that it " represents the tradition of analysis and descriptive criticism in Britain as a whole . " However , despite this rather dry and academic approach there are times when, like Tovey, my analysis contains metaphor, or personification of the music. I have chosen what may be criticised as a rather old-fashioned approach to the analysis because of the basic intention behind this piece of research. As a school teacher I am aware of the pitiful paucity of source material on the music of the South African composers, which are set for study by Matriculation candidates. By this work, I had hoped to shed some light on at least one corner of this section of the syllabus, for both teacher and pupils. Hence, I did not attempt a distributional analysis or a category analysis , coded by computer and shown in graphical form. I chose a straightforward linear and logical progression through the pieces which, even with the limited musical vocabulary of the average school pupil, should be easily comprehensible. ] have also attempted to draw attention to interrelationships between movements or sets of pieces, and to see each work as a unit. In a study limited, by necessity, in its subject matter, as this is, it would be presumptuous to draw conclusions about du Plessis' work in general. This would necessitate an indepth survey of his other genres, especially his vocal works, which are so important an area of his creativity. However, it is possible, even in so limited a study, to gain an appreciation of Hubert du Plessis' meticulous craftsmanship and attention to detail that must gain him his rightful place among the South African musical "greats " of this century.
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Hendrik Hofmeyr : lewe en werk, 1957-1999Roos, Hilde 04 1900 (has links)
Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957
until July 1999. The discussion on his life focusses on the events that influenced the
establishment of his works and also those that had an effect on the style in which
Hofmeyr composes. Although he experienced a steady development and growth as a
composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen
Elisabeth of Belgium Composition Competition can be mentioned as major influences
on his life and thus on his work.
Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of
his music, it is important to know something of Hofmeyr's approach to music. The
chapter concludes that Hofmeyr can be described as a 'romantic' composer which
provides the reason why he has always been outspoken against the avant-garde
which characterises much of the artmusic of the zo" century.
The style analysis of the following chapter looks at three important parameters of any
composer's style: harmony, melody and form. It further also discusses Hofmeyr's
use of counterpoint and the specific playing techniques he requires of instruments.
These two aspects stand out as particular to the composer's style. Due to the scope
of the thesis, these aspects are dealt with in a limited way.
A more detailed discussion of two compositions follow, the song cycle Alleenstryd
and the String Quartet. Besides an analysis of both works, attention is also given to
how the composer's ideas on music are manifested in these works. The thesis
concludes with a detailed list of works including all works composed up to July 1999.
50 compositions are listed. To allow for maximum exposure of each work, the
duration as well as a description of each work are added to the otherwise standard
information. / AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy
geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig
om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en
die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy
groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin
Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig
word.
In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en
gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie
uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking
gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy
studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek
kenmerk.
Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van
enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se
gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente
verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis
se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte
redelik beperk.
In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus
Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van
hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se
uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n
volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50
werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting,
ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.
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Kritiese waardebepaling van Mimi Coertse (1932-) se bydrae tot die uitvoering van die Afrikaanse kunsliedGerber, Marelize 05 1900 (has links)
Text in Afrikaans / In hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die
Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die
ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid-
Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig.
'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel
van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied
deur resensente, kollegas en vriende word bespreek.
Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke
Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur
komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere
wat deur Coertse opgeneem is, word geboekstaaf.
Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin
Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n
uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het. / This study involves an in-depth investigation into Mimi Coertse's contribution to
the execution of the Afrikaans art song. The art song is defined and its
development in the history of Western music and in South Africa analysed. The
principal composers are highlighted in both instances.
An overview is then provided of the life and career of Mimi Coertse. A
comprehensive table of general comments on Coertse's execution of the
Afrikaans art song by critics, colleagues and friends is discussed.
This is followed by critics' comments on Coertse's performance of specific
Afrikaans art songs. The Afrikaans art songs that composers dedicated to
Coertse as well as the list of Afrikaans art songs recorded by Coertse are
chronicled.
Coertse's career as a performer of the art song coincided with a period in which
Afrikaans as a language and Afrikaans culture blossomed. She found a medium
of expression in Afrikaans that was closest to her heart. / Art History, Visual Arts & Musicology / M. Mus.
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Suid-Afrikaanse musiek vir tjello en orkesGrove, Stefan Henry 04 1900 (has links)
Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004).
The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically “cellistic” attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer.
Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry’s own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece.
Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred “classicist” style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English “pseudo-modality” and pentatonicism, with elements of 20th century entertainment music.
The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static.
Both Peter Klatzow's "pointillist” The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a “programmatic” evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias). / AFRIKAANSE OPSOMMING: Hierdie studie lewer ‘n bydrae tot die literatuur oor Suid-Afrikaanse tjello-concerto’s. Daaronder word werke verstaan wat hier te lande ontstaan het, deur komponiste wat oor ’n beduidende tydperk heen sigbaar betrokke is of was by die bevordering van musiek in Suid-Afrika. Dit blyk dat daar tussen die jare 1893 en 2004 sowat 56 Suid-Afrikaanse komponiste ’n (voorlopige) totaal van 95 werke in verskillende genres vir die medium geskryf het, waarvan vyf konsertmatige werke in aanmerking gekom het vir dié studie. Hulle is dié van Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) en Allan Stephenson (2004).
Die navorsingsmetode behels fasette soos agtergrondgegewens, historiese perspektiewe en volledige tegniese bekrywings van elke werk, terwyl ook kommentaar gelewer word oor die artistieke en spesifiek “tjellistiese” ingesteldheid van elk. In dié proses is tot die slotsom gekom dat die tydperk van ontstaan (1942-2004) in ’n ruim mate gereflekteer word in die styl van die gekose werke, en dat elk ’n heel bepaalde perspektief toelaat ten opsigte van die komponis se persoonlike stylbenadering.
Richard Cherry se Concertino is weliswaar nie noemenswaardig in terme van tjellistiek nie, maar getuig nietemin van ’n deurleefde musikaliteit en musikale vakmanskap. Cherry se eie instrument, die fagot, en sy bevoorkeurde genre, nl. ballet- en bykomstige musiek skyn ook ’n rol te gespeel het in die wording van dié werkie.
Allan Stephenson se Concerto – die enigste meerdelige werk – is in bepaalde opsigte selfs meer argaïes as dié van Cherry: Sy bevoorkeurde “klassisistiese” styl maak ruim voorsiening vir ’n tjellistiese benadering wat herinner aan dié van klassieke meesters soos Boccherini en Haydn, terwyl sy harmoniese styl die Engelse “pseudo-modaliteit” en pentatoniek beklemtoon, en ook 20ste-eeuse vermaaklikheidselemente nie afwesig is nie.
Outodidak Bernard Langley verteenwoordig met sy somber-liriese Concerto ’n spesiale – en sonderlinge – bydrae tot die genre. Die werk is stilisties ’n hulde aan die Engelse liriek van bv. Delius. Deur die skynbare gebrek aan genoegsame vindingrykheid in sowel tematiek as orkestrasie-vaardighede kom die werk voor as moeisaam en staties.
Beide Peter Klatzow se “pointillistiese” The Temptation of St. Anthony, after Hieronymus Bosch, en Roelof Temmingh se Concerto kan geld as die mees verdienstelike Suid-Afrikaanse werke tot op hede. Waar Klatzow se werk stilisties tekens dra van die Europese avant-garde van die na-oorlogse tyd, en dus behoort tot die komponis se vroeë middeljare, is Temmingh s’n dié van die ryper en ervare kunstenaar, verteenwoordigend van die komponis se latere, meer gehoorsvriendelike benadering. Wat die werke verder van mekaar onderskei is die aard van die artistieke stempel: In Klatzow se werk gaan dit primêr om die artistieke skeppingsuitdaging van melodie vs. klankeffek, eerder as om ’n “programmatiese” uitbeelding van die skildery. Die tjello-idioom is verrassend-veelsydig en ekspressief; dit is veral die tjello se veeleisende hoogste register wat gepas aandoen. Vir Temmingh, daarenteen, is tjellistiese effekte duidelik ’n bysaak, met die klem op sterk liriese, by tye ook sombere en humorvolle momente. Die oktotoniese grondslag maak selfs by geleentheid voorsiening vir tonale allures, en die struktuur van die werk is oorspronklik in die vindingryke gebruik van motiwiese kiemselle wat mettertyd ontvou as temas (waaronder twee passacaglias).
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Kritiese waardebepaling van Mimi Coertse (1932-) se bydrae tot die uitvoering van die Afrikaanse kunsliedGerber, Marelize 05 1900 (has links)
Text in Afrikaans / In hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die
Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die
ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid-
Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig.
'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel
van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied
deur resensente, kollegas en vriende word bespreek.
Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke
Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur
komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere
wat deur Coertse opgeneem is, word geboekstaaf.
Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin
Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n
uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het. / This study involves an in-depth investigation into Mimi Coertse's contribution to
the execution of the Afrikaans art song. The art song is defined and its
development in the history of Western music and in South Africa analysed. The
principal composers are highlighted in both instances.
An overview is then provided of the life and career of Mimi Coertse. A
comprehensive table of general comments on Coertse's execution of the
Afrikaans art song by critics, colleagues and friends is discussed.
This is followed by critics' comments on Coertse's performance of specific
Afrikaans art songs. The Afrikaans art songs that composers dedicated to
Coertse as well as the list of Afrikaans art songs recorded by Coertse are
chronicled.
Coertse's career as a performer of the art song coincided with a period in which
Afrikaans as a language and Afrikaans culture blossomed. She found a medium
of expression in Afrikaans that was closest to her heart. / Art History, Visual Arts and Musicology / M. Mus.
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An analysis of Priaulx Rainier’s Barbaric Dance Suite for pianoKruger, Esthea 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / Priaulx Rainier (1903-1986) was a South-African born composer whose highly original
compositional style attracted great attention during her lifetime. She spent most of her life in
England, but was inspired by the images and recollections of her youth in Africa. Despite the
critical acclaim she received, little research has been done about her, both in South Africa and
abroad. Additionally, the nature of existing sources is mostly not analytical, but rather
provides an overview of her life or general aspects of her style. Although some conclusions
have been drawn about her compositional style, they are not thoroughly substantiated by
concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often
linked by authors to the “African” element of her idiom), with an evident disregard of the
other aspects of style, most notably with regard to pitch coherence.
This research attempts to correct this unbalanced discourse by analysing one of her few solo
piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch
relations, similarities and contrasts. The rationale for selecting this specific work originated
from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the
three DANCES, their structural embryo is, on a small scale, the basis for most of the later
works.” Although the scope of the research did not allow for a comparative analysis, it is
strongly believed that the conclusions reached in this study could also be applicable to many
of Rainier’s other works, especially of the early period.
The study consists of an introduction in which the Barbaric Dance Suite is contextualised,
followed by the main body of the thesis that consists of a detailed analysis of each of the three
movements. The foremost method of analysis used is set theory analysis, which could be
briefly described as a method whereby (particularly atonal) music is segmented and
categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch,
traditional methods of analysis are employed to examine the other musical parameters. In the
conclusion, the analytical results are contextualised with regard to existing pronouncements
on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical
system in Rainier’s music. The many complex pitch relations that were discovered by the
intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use
of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her
musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in
other works could lead authorities to revise the insistent pronouncements on her rhythmic use
in favour of a more balanced assessment of all aspects of her compositional style.
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Exploring authenticity in performance : a comparative performance analysis of Arnold van Wyk’s Night Music for pianoPinto Ribeiro, Bruno Alfredo 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / Arnold van Wyk was a composer and a pianist. He recorded his largest work for
piano, Night Music (1958), on LP in 1963. Steven de Groote performed Night Music
on 21 July 1984 at the Cheltenham International Festival of Music. This live
performance was broadcast on BBC Radio 3 on 24 September 1984 and a copy of
this broadcast exists in the Arnold van Wyk collection in the J.S. Gericke Library at
Stellenbosch University.
Night Music is a perfect example of Van Wyk’s compositional techniques for
the keyboard. It demands a considerable musical imagination and piano technique
from the performer. The score of Night Music contains many detailed instructions
regarding the different musical parameters and it also encloses unusual terms such
as glacial or lugubre. It shows that the composer is extremely concerned to control
all aspects of the performance and expects great depth of interpretation of the
performer.
Analysing the score of Night Music together with a performance by the
composer enables one to consider two versions of “authenticated text”. The
comparison between Arnold van Wyk’s recording, score and Steven de Groote’s
performance allows the researcher to draw conclusions about score fidelity as a
condition for “authenticity” in performance. Therefore, the primary aim of this
research project is to yield interesting perspectives on notions of authenticity in
performance with regard to these two particular performances of Night Music.
The main body of this thesis consists of four chapters. In Chapter One a
philosophical discussion about authenticity in performance is presented. Chapter
Two focuses on the contextualisation of the work under discussion, including the
reception and a short analysis of Night Music. It is followed by Chapter Three which
compares the pianism of Arnold van Wyk and Steven de Groote. These latter two
chapters form the background of the comparative performance analysis of the
renditions of Night Music by these two performers which are presented in Chapter
Four.
Through the careful comparative analysis of Arnold van Wyk’s and Steven de
Groote’s performances of Night Music it was possible to observe that a composer
can present a version of his work that departs quite radically from the score. As
“authenticity in performance” strives to honour the composer’s intentions as notated
in the score, this discrepancy illustrates the controversial nature of the discourse on
the “authentic” in music.
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Vakdidaktiese beskouing van geselekteerde Suid-Afrikaanse vioolmusiekMartens, Hester Susanna 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / This study represents a contribution to the subject-didactical review of three prominent compositions
for the violin by three prominent South African composers, namely the Sonata on African Motives by
Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and
orchestra by Allan Stephenson (2007).
The three composers are discussed with reference to biographical detail and broad compositional style,
while the works are reviewed according to musicological aspects as well as violin specific didactical
aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods
pertaining to all three works was added.
In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work
loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his
“new” African voice (1984-). The African voice, represented by a melody he overheard a black
roadworker sing, ties the work together. The sonata consists of five movements, with the first and
fourth movements, and the third and fifth movements linked through content. This work presents
challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as
pitch difficulty due to unusual intervals without tonal context.
Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title
refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of
the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region).
The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr
makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two
works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping
being the main challenge.
Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it
is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies.
The concerto has, as is tradition, three movements. Although the work contains ample technical
challenges, it is obvious that it was composed by a string player – both the extensive running passages
and double stopping are quite possible to play once good fingerings have been found.
In the discussion of these works, attempts at solving specific technical problems are made.
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