This selective investigation of contemporary solo violoncello works written between 1980 and 2010 consists of 1075 works, listed in alphabetical order of country and in alphabetical order of composers of each relevant country. Due to the extensive nature of this field, this research only includes works by composers from eight European countries (Austria, Belgium, France, Germany, Italy, Netherlands, Spain and the United Kingdom), as well as Australia, Canada, New Zealand and South Africa. In my considered opinion, the European countries that have been selected are those with a very high musical culture and where composers are very active in this field. The musical life of the United States of America is so huge that it deserves a study of its own. Relevant information of each entry are added, including the approximate duration of each piece, the dedicatee, dates of first performances, recordings and addresses of websites of individual composers. The catalogue is followed by two appendices: one that lists the dedicatee in alphabetical order and the other that lists the works by their approximate duration. The study did not aim to examine the qualitative merits of every piece listed. The catalogue only includes original works for solo violoncello, and music exclusively written for beginner and intermediate levels has not been included. Works written for violoncello and piano, violoncello and orchestra and an amplified violoncello together with tape or electronic accompaniment are not included in this catalogue. These are subjects for further investigation and catalogue compilation. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted

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In this study, the focus is on techniques for playing contemporary music on the viola and other bowed string instruments. These techniques include playing overpressure, some percussion techniques, special pizzicato and left-hand pizzicato techniques, different contact point techniques, various harmonic techniques such as Effleuré, multiphones and subharmonics, and trills. In order to effectively execute these techniques, it is important to experiment and practice them in various ways. To properly execute percussion techniques, for instance, it is suggested to seek guidance from percussionists and for pizzicato techniques double bass players or guitarists. For practicing part, this thesis should be a help for players struggling with the extended techniques. The use of these techniques is discussed with the goal of practicing them to achieve the highest level of performance possible. / <p>Den klingande delen, som utgörs av följande inspelningar, är arkiverad. </p><p>Knox, Garth, Viola Spaces, No 2: Sul Tasto “Ghosts”</p><p>Ligeti, György, Viola Sonata, First movement: Hora lungă</p><p>Kurtág, György, “Signs, Games and Messages”, Vagdalkozós</p><p>Kurtág, György, “Signs, Games and Messages”, Virág – Zsigmondy Dénesnek</p>

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This study was set up to determine how the concept of biblical salvation is understood within liberation theology and how the concept is perceived from Pentecostal standpoint with the aim of developing a theological framework to challenge the dehumanising influences in contemporary society. The central argument of this thesis is that, there are irreconcilable differences between the salvation espoused by liberation theology's praxeological epistemology and the Pentecostal understanding of the concept etymologically and hermeneutically speaking. The study further probes whether Pentecostalism can provide the necessary theological framework that can be used to challenge the perceived dehumanising influences in contemporary society. The study achieved its purpose by setting meaningful objectives and following the appropriate research methodologies. Firstly, the study employed in-depth textual analysis, historiography, lexicology, and hermeneutic principles to understand the etymology of salvation from previous scholarship. This effort helped to elucidate differences that exist between liberation theology and Pentecostal renderings of the concept. Secondly, the concerns of existing contributors on the subject were evaluated by researching historical, linguistic and textual materials as well as exegetical analysis of relevant texts of Scripture. Thirdly, an in-depth literature analysis was undertaken to ascertain liberation theology's hermeneutic methodologies. This is necessary to establish whether the movement is more interested in promoting its ideologies and preunderstandings rather than biblical salvation. Fourthly, it was necessary to review the deep concerns expressed by liberation theology epistemology without compromising the message of the Gospel. This was achieved by a thorough analysis of social ministries undertaken by Progressive Pentecostals across the globe. Fifthly, the study evaluated the Pentecostal criticisms of liberation theology to see if there is any justification for that. This was achieved through an in-depth exegetical and hermeneutic analysis using word studies, theological dictionaries, bible commentaries, and by reviewing scholarly articles on the subject matter. Lastly, by analysing the difference between Pentecostal and liberation theologies, it was clear that their methods of operations are different. This goes to explain why Pentecostalism is growing exponentially while liberation theology is declining. The outcome of this analysis also explains why Pentecostalism is a better alternative in addressing the challenges facing our global community. / PhD (Dogmatics), North-West University, Potchefstroom Campus, 2014

This study was set up to determine how the concept of biblical salvation is understood within liberation theology and how the concept is perceived from Pentecostal standpoint with the aim of developing a theological framework to challenge the dehumanising influences in contemporary society. The central argument of this thesis is that, there are irreconcilable differences between the salvation espoused by liberation theology's praxeological epistemology and the Pentecostal understanding of the concept etymologically and hermeneutically speaking. The study further probes whether Pentecostalism can provide the necessary theological framework that can be used to challenge the perceived dehumanising influences in contemporary society. The study achieved its purpose by setting meaningful objectives and following the appropriate research methodologies. Firstly, the study employed in-depth textual analysis, historiography, lexicology, and hermeneutic principles to understand the etymology of salvation from previous scholarship. This effort helped to elucidate differences that exist between liberation theology and Pentecostal renderings of the concept. Secondly, the concerns of existing contributors on the subject were evaluated by researching historical, linguistic and textual materials as well as exegetical analysis of relevant texts of Scripture. Thirdly, an in-depth literature analysis was undertaken to ascertain liberation theology's hermeneutic methodologies. This is necessary to establish whether the movement is more interested in promoting its ideologies and preunderstandings rather than biblical salvation. Fourthly, it was necessary to review the deep concerns expressed by liberation theology epistemology without compromising the message of the Gospel. This was achieved by a thorough analysis of social ministries undertaken by Progressive Pentecostals across the globe. Fifthly, the study evaluated the Pentecostal criticisms of liberation theology to see if there is any justification for that. This was achieved through an in-depth exegetical and hermeneutic analysis using word studies, theological dictionaries, bible commentaries, and by reviewing scholarly articles on the subject matter. Lastly, by analysing the difference between Pentecostal and liberation theologies, it was clear that their methods of operations are different. This goes to explain why Pentecostalism is growing exponentially while liberation theology is declining. The outcome of this analysis also explains why Pentecostalism is a better alternative in addressing the challenges facing our global community. / PhD (Dogmatics), North-West University, Potchefstroom Campus, 2014

Published Article / Discourse on translation studies is situated in this article outside linguistics, in musical studies. Contextualising and problematising issues when music from African choir culture is translated for non-Africans (Westerners) to perform, the main problem - translation as negotiation - is explored together with notions of hybridity, the 'Third Space', boundaries, identity, authenticity and cultural compatibility within performance contexts. Cultural studies bring to linguistics a wider perspective of translation; how translation studies relate to other disciplines and expressive forms, like music. The researchers argue that translation of African choir music for performance by non-Africans can only be achieved in cultural dialogue.

This body of research investigates how visual artists express ideas or meanings about Otherness and issues of belonging in their art. The focus of this study is on women artists with an (East) Asian diasporic background; however, the context of the inquiry includes other American and European artists of various cultural backgrounds. A further aim is to explore the artistic strategies and the historical circumstances of the works as well as to understand the theoretical correlations. The author of this study is a visual artist who has been exploring similar issues in her own artistic practice. In order to examine various themes of Otherness, selected pairs of artists – where at least one is a woman artist of (East) Asian diasporic background – are compared and analysed using the following four categories: literary devices (such as irony, parody, connotation or juxtaposition), reappropriation (cultural references which are reclaimed and transformed), anamorphic situations (distortion of conventional ways of viewing in order to become aware of other bodily senses and experiences), and theoretical correlations (connections between artistic practice and relevant theoretical concepts). The specific artists and artworks chosen are: Yoko Ono’s Cut Piece (1965) with Patty Chang’s Melons (at a Loss) (1998), Lorna Simpson’s work in the 1980s and 1990s with Nikki S. Lee’s Projects (1997-2001), Guillermo Gómez-Peña with Fiona Tan, and Yong Soon Min with Mona Hatoum. In addition, the author presents critical social and cultural developments that influenced these works such as the historical background of representations of Asian women in America, the rise of the Asian American movement, and the shift in contemporary art discourse from concerns of ‘identity politics’ to a ‘post-identity’ framework. Finally, correlations are made between the artistic strategies and relevant theoretical discussions about representations of race and gender, the role of power, knowledge, and truth in ethnographic practices of identification and categorization, and the function of place and ‘cultural identity’ in relation to concepts of origin and belonging. The results of this research confirm the significance of cultural, historical, and geographic experiences on both the conception and reception of visual art and indicate that various artistic strategies have the potential to expose and undermine culturally constructed meanings of difference. Despite the abundance of research conducted in this area, the scope and framework of this particular study are original not only because it is written from the perspective of a practicing artist, but also because the focus on artistic practices from women artists with (East) Asian diasporic backgrounds is located within a more wide-ranging investigation of artistic approaches that articulate and interrogate themes of Otherness.