Thesis (MMus)--Stellenbosch University, 1993. / ENGLISH ABSTRACT: The purpose of this thesis can be summarised under the following headings: Unlocking the Scott Collection to the music world The University of Stellenbosch is in the possession of the valuable Scott Collection, as was bought from the estate of Gerrit Wessels, the beneficiary of Commander Michael Scott. The latter emigrated to South Africa because of health reasons, where he played a valuable role in the music circles of Cape Town. Music editions, manuscripts, gramophone records, and writings on music form about 20% of the Scott Collection. Providing music editions with RISM numbers and the international implication thereof The research had to determine whether editions could be listed in the RISM. This international inventory of first and early music editions lists all known and existing editions before and up to the year 1800. There are editions in the Scott Collection for example, which are some of the only few first edition copies in the world, A detailed description of the RISM and its activities are discussed in detail in Chapter 2. Creating an user-friendly catalogue for the US Music Library It was considered a great matter of importance to create an user-friendly catalogue for research purposes. The editions discussed in this thesis are therefore presented in table-form. Introducing further research possibilities Through the survey done on the applicable music editions, it was discovered that 111 editions in the Scott Collections could be listed in the RISM. Seeing that no editions harboured in South Africa are listed in the RISM at present, this matter are naturally of international importance. This also creates opportunities for further research and international publications. Conservation of old paper It became evident during the course of the research survey that the University of Stellenbosch was unaware of the monetary and international historical value of the music editions in the Scott Collection. The collection is in danger of perishing, as it is not preserved according to international standards of conserving old paper. It is also not adequately protected from fire and theft hazards. This matter and some suggestions to improve the situation, were brought under the attention of the university authorities (see Chapter 9). / AFRIKAANSE OPSOMMING: Die doel van die tesis kan opgesom word onder die volgende opskrifte: Ontsluiting van die Scott-Versameling aan die musiek wereld Die Universiteit van Stellenbosch beskik oor die Scott-Versameling soos aangekoop uit die boedel van Gerrit Wessels, die begunstigde van Kommandeur Michael Scott. Laasgenoemde het weens gesondheidsredes na Suid-Afrika geimigreer, waar hy 'n waardevolle rol in die Kaapse musiekkringe gespeel het. Musiek-edisies, manuskripte, gramofoonplate, en geskrifte oor musiek vorm omtrent 20% van die Scott-Versameling. Die voorsiening van musiek-edisies van RISM nommers en die internasionale implikasie daarvan. Die navorsing moes bepaal of daar edisies is wat in die RISM gelys kon word. Die internationale inventaris van eerste en vroee musiek edisies, lys alle bekende en bestaande edisies voor en tot en met die jaar 1800. 'n Gedetaileerde beskrywing van die RISM en sy werksaamhede verskyn in Hoofstuk 2. Die skep van 'n gebruikersvriendelike katalogus vir the US Musiekbiblioteek Die opstelling van 'n gebruikersvriendelike katalogus is as noodsaaklik beskou vir navorsingsdoeleindes. Die edisies wat in hierdie tesis bespreek word, word daarom in tabelvorm aangebied. Die skep van verdere navorsingsmoontlikhede Gedurende die ondersoek gedoen op die toepaslike musiek edisies, is daar ontdek dat 111 edisies in die Scott-Versameling in die RISM gelys kan word. Omdat geen edisies wat in Suid-Afrika gehuisves word, huidiglik in die RISM gelys word nie, is hierdie saak uiteraard van internasionale belang. Dit skep ook verdere navorsingsrnoontlikhede en geleenthede vir internasionale vakpublikasies. Bewaring van ou papier Gedurende die navorsing het dit aan die lig gekom dat die Universiteit van Stellenbosch onbewus is van die monetere en internasionaal-historiese waarde van die musiek-edisies in die Scott-Versameling. ·Die versameling staan die gevaar om tot niet te gaan, omdat dit nie bewaar word volgens internasionale standaarde vir die bewaring van ou papier nie. Dit word ook nie voldoende beskerm teen brandgevaar en diefstal nie. Die aangeleentheid, asook 'n paar voorstelle om die omstandighede te verbeter, is onder die aandag van die universiteitowerhede gebring (sien Hoofstuk 9).

Thesis (PhD) -- Stellenbosch University 1986. / ENGLISH ABSTRACT: no abstract available / AFRIKAANSE OPSOMMING: geen opsomming

Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The Department of Music at Stellenbosch University (SU) established the Certificate Programme in Music (CP) in 1999. The programme was created to fulfil a multi-faceted role that would equip potential students who display a high level of musicality, but do not fulfil admission requirements to music studies at Higher Education level. Initially, the programme was targeted at previously disadvantaged individuals who had had no opportunity to receive formal music tuition. Thereafter, the balance shifted to include all students with diverse cultural backgrounds but with no or insufficient prior musical tuition. Problems experienced by universities globally include growing numbers of students displaying lower levels of academic literacy and the number of potential music students who have not reached the standard required on their instruments or in music theory. Changes to programme content were made as courses were adapted; an example is the Higher Certificate in Music which will soon be a university-accredited qualification. A preparatory course in Music Technology was created for musicians already involved in the music industry, wanting to upgrade their skills or prepare themselves for admission to the BA with Music (Route: Technology) degree. The objective of this research endeavour was to launch an in-depth investigation into all aspects of the CP. The grounded theory approach of Strauss and Corbin (1990) formed the foundation to the study. Data consisted of records from the CP, interviews and questionnaires. The research design was based on the conditional matrix of Strauss and Corbin (1990). CP data was compared to national policies governing Higher Education, to SU policies regarding community interaction, and to SU's strategic framework. Categories for investigation included concepts such as motivation, self-regulation, service learning and the development of emotional intelligence in students. Change theories were explored as a theoretical framework for the CP to cope with the ever-changing landscape of high school education. Establishing partnerships which are mutually beneficial to the community and the university is listed as an important component of the community interaction policy at SU, and was found to be a significant component of the CP. / AFRIKAANSE OPSOMMING: Die Departement Musiek by die Universiteit van Stellenbosch (US) het die Sertifikaatprogram in Musiek (SP) in 1999 gevestig. Die program is ontwerp om 'n uiteenlopende rol te vervul vir voornemende musiekstudente wie musiektalent toon, maar wie nie aan die nodige toegangsvereistes voldoen om musiekstudie op Hoër Opvoedkundige vlak te neem nie. Aanvanklik was die program gemik op voorheenbenadeelde persone wat nie die geleentheid gehad het om formele opleiding in musiek te ontvang nie. Daarna het die behoefte verskuif deur studente uit verskeie kulturele agtergronde, wie nie vorige musiekopleiding gehad het nie, in te neem. Wêreldwyd ervaar universiteite onder andere probleme met studente wat toenemend laer vlakke van akademiese geletterdheid toon, asook met die groeiende getal studente wat nie die nodige vlak in prakties sowel as musiekteorie bereik nie. Veranderinge is aangebring in die program en kursusinhoude is gewysig om verdere opleidingsmoontlikhede te bewerkstellig; die Hoërsertifikaat in Musiek is een voorbeeld – dit sal binnekort 'n universiteits-geakkrediteerde kwalifikasie wees. 'n Voorbereidende kursus in Musiektegnologie is spesiaal geskep vir kandidate wat reeds in die musiekbedryf is, of wat voorbereiding vir toelating tot die graadkursus BA met Musiek (rigting: Tegnologie) nodig het. Die doelwit van hierdie navorsing is om ʼn deeglike ondersoek in alle aspekte van die SP na te gaan. Strauss en Corbin (1990) se gegronde teorie was die uitgangspunt vir hierdie ondersoek. Die data bestaan uit aantekeninge van die SP, onderhoude en vraelyste. Die navorsingsontwerp is gebaseer op die voorwaardelike matriks van Strauss en Corbin (1990). Die SP se data is vergelykbaar met die regering se nasionale beleid met betrekking tot Hoër Onderwys, sowel as die US beleide sover dit betrekking het op die gemeenskapsinteraksie en die strategiese raamwerk van US. Kategorieë wat ondersoek is, sluit onder andere konsepte soos motivering, selfgereguleerde, diensleer en die ontwikkeling van emosionele intelligensie in. Die vestiging van vennootskappe met wedersydse voordeel vir beide die universiteit en die gemeenskap is aangewys as 'n belangrike komponent van die gemeenskapsinteraksie beleid by US. By hierdie ondersoek is vasgestel dat dit ʼn groot komponent van die SP is.

Thesis (MMus (Music)) --University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis’s main focus is the connection video game genres have to the music used within them. The thesis starts by going back to the origins of music and its connection to movement. This leads to a better understanding of why visual presentations through the ages have always been accompanied by sound. Next, different types of sound are studied, as well as how they are implemented in various media today. This leads a discussion of genre, and care is taken to differentiate between genres in video games and in music. This is then applied to the sphere of video game music, which is then observed from the perspective of the video game genre. Analyses of music excerpts from a specific video game are also included in this section. The reverse is then applied by approaching the issue of video game music from the perspective of the music genre. It is concluded that one needs to approach the matter of video game music genre from a new perspective, relying on the source of the music and the means of music integration, rather than on existing music norms. / AFRIKAANSE OPSOMMING: Hierdie tesis se hoofdoel is om die konneksie tussen videospeletjies, en die musiek wat daarin gebruik word, te ondersoek. Die tesis begin deur terug te gaan na die wortels van vroeë musiek, en hoe dit deur die jare ‘n noue verbintenis gehad het met beweging. Hierdie konneksie maak dit duidelik hoekom visuele produksies gewoonlik deur klank ondersteun word. Volgende word verskillende verskynsels van klank bestudeer, asook die maniere waarop klank vandag in verskeie media geïmplementeer word. Dit lei tot die kwessie van genre. Daar word onderskei tussen die genres van musiek en die genres van videospeletjies. Volgende word die area van videospeletjie-musiek bestudeer, uit die perspektief van die videospeletjie-genre. In hierdie seksie kan analises van musiekuittreksels uit ‘n videospeletjie gevind word. Die teenoorgestelde word dan toegepas, deur die kwessie van videospeletjie-musiek uit die oogpunt van die musiek-genre te bestudeer. Aan die einde word dit waargeneem dat videospeletjie-musiek nie deur die norme van musiek-genre bestudeer kan word nie, maar dat nuwe perspektiewe ingeneem moet word, naamlik die oorsprong van die videospeletjie-musiek, asook die manier waarop dit in die speletjie geïntegreer word.

Thesis (MMus) -- University of Stellenbosch, 2001. / ENGLISH ABSTRACT: In preparation for the basic teaching in the instruction of the male singing voice, it is essential that the singing teacher becomes thoroughly familiar with the general pedagogical requirements of vocal training. Each of the sections in chapter 1 represents a wide-ranging study by itself but it will be presented in summarized form here. Chapter 2 focus chiefly on basic beginners' instruction which is indispensable for the establishment of a sound singing technique. The teaching principles of beginners' instruction which are set out in this chapter, are based on tested methods recognized internationally by various famous teachers. These teaching methods, together with literary research on this subject, have been condensed empirically over thirty years, into a system of teaching by the writer. The major focus of chapter 3 is on the physiology of the adolescent boy's changing voice. When adolescence sets in, from the age 13 - 15, enormous changes take place in the anatomical-physiological structure of a boy's larynx. These far-reaching changes are brought about by the influence of the sex hormones and consist of complex physical as well as psychological growth stages through which the young boy has to develop. Knowledge of the different stages in voice changes and their individual characteristics of sound are important requirements for voice classification which takes place during the formative training. Chapter 4 focuses on the problematic nature of the transition of the register of the male voice. To prepare for the teaching process of this transition (of the male voice), the teacher should be well-qualified to be able to identify the classification of the registers of the different male voice-types. In addition, he should be totally familiar with the ideal sound typical of the upper registers which would be required from a professional singer on the international stage. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain ... A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). The actualisation of this ideal sound which comes about through copertura-schooling of sound in the upper register is the focal point of this study. Therefore this chapter focuses specially on the ideal sound of the full voice in the upper register versus a cultivated falsetto sound in the upper register. Chapter 5 addresses the implementation of a didactical system by famous singers and singing teachers. Therefore in chapter 5 the focus is placed on the technical training of the secondo passagio by presenting technical exercise and the practical application of the standard vocal repertoire of the male voice. Due to length restrictions of this dissertation, there will be reference only to some technical exercise and examples of repertoire. / AFRIKAANSE OPSOMMING: As voorbereiding tot die didaktiese beginsels in sangonderrig van die manstem is dit noodsaaklik dat die sangonderwyser volkome vertroud sal wees met die algemene pedagogiese voorvereistes vir die onderrig van sang. Elkeen van die afdelings in hoofstuk 1 regverdig eintlik 'n omvattende studie in sigself, maar hier word dit samevattend aangebied. Hoofstuk 2 fokus hoofsaaklik op goeie aanvangsonderrig wat onontbeerlik is vir die vestiging van 'n goeie sangtegniek. Samevattend word op die noodsaaklike basiese beginsels van aanvangsonderrig gekonsentreer. Die didaktiese beginsels van aanvangsonderrig wat vanaf hierdie hoofstuk uiteengesit word, is gebaseer op beproefde metodes wat internasionaal deur verskeie beroemde leermeesters erken word. Hierdie onderrigmetodes, tesame met die nagevorsde vakliteratuur, is oor 'n tydperk van dertig jaar op empiriese wyse deur die skrywer gekondenseer tot 'n sisteem van onderrig. Die kemfokus van hoofstuk 3 is op die stemfisiologie van die adolessente seun. Wanneer adolessensie vanaf die ouderdom van dertien tot vyftien jaar by die seun intree, vind daar groot veranderinge in die anatomies-fisiologiese struktuur van die seun se larinks plaas. Hierdie ingrypende veranderinge word teweeg gebring deur die invloed van die geslagshormone en behels fisiek sowel as psigies 'n komplekse groeifase waardeur die jong seun moet ontwikkel. Dit is belangrik dat die pedagoog deeglik vertroud sal wees met hierdie komplekse groeiproses. Kennis van die verskillende stemmutasiestadiums en die individuele klankkarakters daarvan is 'n belangrike voorvereiste vir die stemklassifisering wat by aanvangsonderrig plaasvind. In hoofstuk 4 val die soeklig op die problematiek van registeroorgange by die manstem. As voorbereiding tot die onderrigproses van die registeroorgange van die manstem moet die pedagoog onderleg wees in die klassifisering van die registers van die verskillende manstemtipes. Ook moet hy ten volle vertroud wees met die tipiese klankideaal van die hoëregister wat van 'n professionele sanger op die internasionale verhoog verwag word. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain . . . A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). Die verwesenliking van hierdie klankideaal wat deur copertura-klankgebruik in die hoëregister tot stand kom, is die kemfokus van hierdie studie. Hierdie hoofstuk konsentreer dus sterk op die klankideaal van volstem in die hoëregister versus 'n gekultiveerde falsetklank in die hoëre gister. Vir die verkryging van 'n stabiele hoëregister deur middel van die copertura-tegniek word in hoofstuk 5 betoog vir die toepassing van 'n didaktiese sisteem wat gebaseer is op onderrigmetodes wat beproef is deur beroemde sangers en sangpedagoë. In hoofstuk 5 is dus gekonsentreer op die tegniese skoling van die secondo passaggio deur middel van tegniese oefeninge en die praktiese toepassing daarvan op die standaard sangrepertorium van die manstem. Weens lengtebeperking by hierdie skripsie word daar net na enkele tegniese oefeninge en repertoriumvoorbeelde verwys.

Thesis (MMus) -- Stellenbosch University, 2001. / ENGLISH ABSTRACT: Two of the most frequently reported performance problems amongst musicians are memorisation and performance anxiety. For the purposes of this study, memorisation is investigated regarding its importance in a musician's life; different faculties of memorisation are discussed; and practice methods are proposed providing the memoriser with maximum memory security and confidence. Performance anxiety, as a corollary of memory insecurity, is investigated regarding its symptoms, causes, and possible cures. It was found that memory insecurity and extreme performance anxiety result because of insufficient or inadequate practice and/or a lack of trust in the musician's own abilities. Musicians should prepare the best they can and then, during performance, they should put trust in the preparation that has been done. A healthy self-esteem, as well as good health, are requisites for success as a performer. It was also found that performers should concentrate less on the feat of technique and memory, and more on making music. / AFRIKAANSE OPSOMMING: Memorisasie en verhoogvrees is twee van die grootste probleme wat deur uitvoerende musici aangemeld word. Die belangrikheid van memorisasie word ondersoek; die verskillende faktore daarby betrokke word bespreek; en oefenmetodes word voorgestelom die memoriseerder te vergewis van maksimum geheue-sekerheid. Verhoogvrees, as 'n uitvloeisel van memorisasie, word ondersoek ten opsigte van sy simptome, oorsake en moontlike oplossings. Daar is bevind dat onsekerheid betreffende die geheue sowel as ekstreme verhoogvrees die gevolg is van onvoldoende voorbereiding en/of 'n gebrek aan selfvertroue in die musikant se eie vermoëns. Musici moet bloot na die beste van hul vermoëns oefen; tydens die optrede moet daar dan vertroue geplaas word in die voorbereiding wat getref is. 'n Gesonde selfbeeld, saam met goeie gesondheid, is vereistes vir 'n uitvoerende kunstenaar om suksesvol te kan wees. Daar is ook bevind dat uitvoerders minder op die oorwinning van tegniek en geheue moet konsentreer, maar wel meer daarop moet konsentreer om musiek te maak.

Some digitised pages may appear illegible due to the condition of the original hard copy. (entire content of poor quality) / Thesis (MMus)--Stellenbosch University, 2014. / AFRIKAANSE OPSOMMING: In Suid-Afrika, soos in alle ander lande, is daar musiekliefhebbers en kunstenaars met beperkte of geen musiekopleiding nie. Sommige van hulle het dikwels net In basiese musiekkennis en het heel waarskynlik nooit die geleentheid gehad om hulle kennis met eksterne insette te verbreed nie. Dit is juis teen hierdie agtergrond dat daar al vir 'n geruime tyd 'n behoefte bestaan om die nodige opleiding en onderrig aan persone te bied wat weens omstandighede buite hulle beheer (histories of andersins) nie formele musiekonderrig van watter aard ookal, kon ontvang nie. By die Konservatorium (Universiteit Stellenbosch) word daar twee oorbruggingskursusse, oftewel 'n Sertifikaatprogram, aangebied. Die teikengroep bestaan hoofsaaklik uit (i) mense wat na hulle gemeenskappe kan terugkeer om hulle nuutgevonde kennis toe te pas en/of (ii) voornemende musici wat graag vir die BMus-program wil inskryf nadat hulle die minimum tydperk van die Sertifikaatprogram suksesvol voltooi het. Die doel met hierdie studie was om te bepaal of die tweede Sertifikaat van die Sertifikaatprogram se huidige (i) kurrikulum en (ii) standaard 'n student in staat stelom aan die toelatingsvereistes van die BMus-program te voldoen en die kursus suksesvol te voltooi. Om die doel te verwesenlik, is kwalitatiewe navorsingsmetodes (byvoorbeeld literatuurstudie en waarneming) gebruik om die spesifieke inhoud wat in die Sertifikaatprogram benodig word, te ondersoek. Daar is gevind dat aspekte van die Elliott-model toegepas kan word op sertifikaatinhoude. Die navorser kon as waarnemer en dosent deur middel van klasbywoning en -aanbieding eerstehands bepaal of die kurrikulum wat op skrif gestel is, in die praktyk uitvoerbaar was. Empiriese inligting oor die betrokke kursus is deur middel van die opname prosedure en die gestruktureerde vraelys tegniek bekom. In Evalueringsvraelys oor kursusmodules wat oor 'n tydperk van twee jaar aangebied is, is ingevul deur sertifikaatstudente. Onderhoude is met BMus I dosente gevoer om te bepaal watter minimum standaard na hulle mening aanvaarbaar is wanneer 'n student vir die BMus-program inskryf. Deur middel van literatuurstudie is daar ook na eksterne faktore gekyk wat In invloed op die vordering van studente in die Sertifikaatprogram kon hê. Die hantering van aspekte soos motivering, onderrigtegniek en -benaderings wat suksesvolle volwasse onderrig sal verseker, eienskappe van volwasse leerders en die implikasies daarvan vir volwasse onderrig is binne die konteks van die Universiteit Stellenbosch se Sertifikaatprogram bespreek. Deel van die oogmerke van hierdie navorsing was ook om die moontlikheid van aanlegtoetse te ondersoek, omdat tans geen aanlegtoets afgelê word by die Departement Musiek nie. Verskeie bestaande aanlegtoetse is vir die doel bestudeer en die Advanced Measures of Music Audiation van E. Gordon is deur die navorser as die mees geskikte vir die doel van hierdie studie beskou. In die geheel het hierdie studie getoon dat die Sertifikaatprogram by die Departement Musiek, Universiteit Stellenbosch, baie potensiaal het, maar dat daar egter deeglik ondersoek ingestel moet word na die kurrikuluminhoude om sodoende die huidige standaard op / ENGLISH ABSTRACT: In South Africa, similar to all other countries, there are music lovers and artists with limited or no training in music. Some of them often only have a basic knowledge of music and probably never had the opportunity to broaden their knowledge with external inputs. It is against this background that the need exists to provide the necessary training and tuition for these persons who, due to circumstances beyond their control (historical or other), could not receive any formal music tuition whatsoever. The Department of Music (Stellenbosch University) offers two bridging courses, namely the Certificate programme. The target group consists mainly of (i) people who can return to their communities to apply their newly acquired knowledge and/or (ii) prospective musicians who would like to enrol for the BMus programme, after successfully completing the minimum period. The purpose of this study was to determine whether the second Certificate of the Certificate programme's current (i) curriculum, and (ii) standard, will make it possible for a student to meet the requirements for enrolment in the BMus programme and to complete the course successfully. To realise the objective, qualitative research methods (for example literature study and observation) have been employed to investigate the specific contents required in the Certificate programme. The researcher could, as observer and lecturer, by means of attending lectures and lecturing, determine first hand whether the curriculum which had been compiled, was viable in practice. The researcher obtained empirical data regarding the course in question by means of the survey procedure and structured questionnaire method. A questionnaire comprising the evaluation of course modules presented over a period of two years, was completed by certificate students. Questionnaires have been completed by BMus I lecturers to determine amongst other things, in their opinion, whether the minimum standard would be acceptable when a student enrols for the BMus programme. By means of literature studies, external factors which could influence the progress of students in the Certificate programme, have also been examined. The handling of aspects such as motivation, tuition techniques and approach, which wil ensure successful adult tuition, characteristics of adult learners and the implications thereof for adult tuition, have been discussed within the context of Stellenbosch University's Certificate programme. Part of the objectives of this research was to investigate the applicability of aptitude tests, because no aptitude test is required at the Department of Music at present. Various existing aptitude tests have been examined and the author has deemed the Advanced Measures of Music Audiation by E. Gordon as most suitable for this purpose. In its entirety this study has shown that the Certificate Programme of the Department of Music, Stellenbosch University has much potential, but, that thorough investigation should be initiated into curriculum contents to elevate the existing standard, in order that the link of the second Certificate with the BMus programme can be trouble-free.

Thesis (MMus) -- Stellenbosch University, 1986. / INLEIDING: Die Sangfees op Stellenbosch is tans nog’n belangrike jaarlikse musiekaktiwiteit en studente-geleentheid. Die vrae rondom die geskiedenis daaragter was die aansporing tot die studie, en met hierdie ondersoek sal gepoog word om vrae te beantwoord soos die volgende: (1) Watter faktore het aanleiding gegee tot die ontstaan; (2) wanneer en deur wie is die Sangfees gestig; (3) hoe het die heel eerste Sangfees daar uitgesien; (4) hoe is dit met verloop van jare georganiseer en deur wie; (5) neem dit tans nog dieselfde vorm aan as destyds; (6) hoe belangrik was die Sangfees tydens die aanvangsjare en watter plek beklee dit teen 1980 in die Stellenbosse musieklewe. Daar sal ook gelet word op die reaksie wat die Sangfees ontlok het, hetsy deur musiekkenners, die pers, studenterade, die studente self, dit wil sê almal wat deur die jare daarby betrokke was. 'n Ander belangrike aspek wat nagevors sal word is die musiek wat tydens Sangfees uitgevoer is sedert die ontstaan tot en met 1980. Het die styl van die Sangfeesprogramme mettertyd verander en indien weI, wat was die aard van die veranderinge?

Thesis(M.Mus.) -- Stellenbosch University, 1987. / VOORWOORD Die twintigste eeu beleef 'n besondere belangstelling in die outentieke uitvoering van ou musiek en dit is 'n studieveld wat reeds uitgebreid nagevors is. Desondanks bestaan daar steeds baie vraagstukke aangaande sekere uitvoeringspraktyke en styltipes en hoe ouer die musiek, hoe meer problematies word 'n outentieke uitvoering, veral as gevolg van die groot verskille tussen die moderne en ou instrumente, die speeltegnieke en die dikwels ontoereikende notasie. Die teoriee wat die twintigste eeuse musici aangaande die uitvoeringspraktyke geformuleer het, is hoofsaaklik gebaseer op ou geskrifte, verhandelinge en onderrigboeke uit die onderskeie styltydperke. Daar bestaan baie teenstrydighede tussen hierdie teoriee, veral met betrekking tot die musiek van die Barokperiode. Die uitvoering van musiek van die Klassieke en veral die Romantiese periodes is minder problematies en die redes hiervoor is hoofsaaklik die volgende: Die notasiesisteem het reeds tydens die Hoog-Klassieke tydperk tot sy huidige vorm ontwikkel. Verder het musiekkritiek en -geskiedskrywing segert die agtiende eeu toenemend meer aandag geniet en bestaan daar dus meer inligting aangaande uitvoeringspraktyke. Ten spyte daarvan dat hierdie na vorsing reeds dekades gelede begin het, is daar steeds groot onkunde daaromtrent en word daar dikwels min aandag gegee aan die outentieke uitvoering van ou musiek. Hierdie studie is 'n paging om die navorsing wat reeds gedoen is krities te ondersoek en 'n moontlike samevatting daarvan te gee. / Digitized at 300 dpi B/W PDF format (OCR), using ,KODAK i 1220 PLUS scanner. Digitised, Rebecca Patterson on 28 August 2013. Digitization of Music Thesis Project

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.