Thesis (MMus (Music))--University of Stellenbosch, 2006. / The piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.

Thesis (MMus (Performance)--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The work represented here is a transcription for two pianos of Vladimir’s Round Table, a relatively unknown, large-scale orchestral work by Stefans Grove. This particular transcription involved an intensive study of the orchestral score in order to best reproduce the work in the most effective way possible for two pianos, as well as to create a sound and convincing work for the two-piano repertoire. The process involved academic as well as pianistic substantiations regarding the inclusion or exclusion of various elements of the orchestral score. It is my hope that the final product is a good representation of a work supported by academic research but not so much as to exclude the possibility of freedom of performance. The ultimate aim of this transcription is to hopefully re-ignite interest in the work as well as to expose it to a wider audience and, in turn, encourage performance of the work in its original form. / AFRIKAANSE OPSOMMING: Die werk wat hiermee voorgelê word, is 'n transkripsie vir twee klaviere van Stefans Grové se minder-bekende orkeswerk, Wladimir se Tafelronde (die Afrikaanse titel wat op die titelblad van die manuskrip verskyn). Die transkripsie het 'n deeglike studie van die orkespartituur behels om sodoende die werk ten beste in die klavier-duo genre weer te gee, en om n oortuigende dog bruikbare werk vir hierdie tipe repertorium te skep. Ten einde die insluiting of weglating van bepaalde elemente van die orkespartituur teen mekaar op te weeg, is die proses deur sowel akademiese- en pianistiese oorwegings ingegee. Ek hoop dat die finale produk verteenwoordigend is van n transkripsie wat deur n akademiese ondersoek ondersteun is, terwyl dit ruimte laat vir praktiese oorwegings wat met die uitvoeringsmoontlikhede en -beperkinginge van die klavier-duo weergawe ter sprake kom. Die hoofdoel met die transkripsie is om hopenlik hernude belangstelling in Grove se orkeswerkte te wek; om dit aan 'n wyer publiek bekend te stel, en op sy beurt uitvoerings van die werk in sy oorspronklike gedaante aan te moedig.

Thesis (MMus) -- Stellenbosch University, 2002. / ENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and the Introductory Programme in Music. The BMus Foundation Programme aims to reach students who intend doing the BMus Programme but do not meet the required standard for the BMus Programme at the time of enrolment. On the successful completion of the BMus Foundation Programme, these students can then be promoted to the BMus Programme. The Introductory Programme in Music concentrates on students who have had little or no prior formal theoretical or practical training in music. These students aim to obtain, an understanding of the fundamentals off'music within the minimum period of one academic year. The Introductory Programme in Music is dual-functional: Students can terminate their studies on completion of the course or 11 Students who wish to continue their studies in music can enrol for the BMus Foundation Programme on completion of the Introductory Programme in Music. The Introductory Programme in Music. consists of the following modules: Music Skills 171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical Music Studies: Preparatory 171 module concentrates on teaching students the basic practical skills required to play an instrument. The student decides which instrument he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical Piano Study 171 throughout the thesis. At the completion of the Introductory Programme in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano Study 171. In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically investigated. This investigation includes the following: the forms of tuition offered, that is, group and individual tuition, the curriculum material that is used and the curriculum itself Furthermore, the psychological, physiological and mental make-up of the student enrolling for this course in general will be discussed. In this instance, the umbrella term "adult" is used. Attention is also given to teaching aids that can assist in piano and electronic keyboard instruction. A demonstration video is included with the thesis in order to illustrate its potential as a teaching aid. Suggestions based on the conclusions drawn from this research are given for the improvement of Practical Piano Study 171. / AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999 twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend) asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar te bekom. Die Inleidende Program in Musiek het 'n tweeledige funksie: Die student kan die kursus teen die einde van die akademiese jaar voltooi of 11 Studente wat na voltooiing van die Inleidende Program in Musiek graag met hul studies in musiek wil voortgaan, kan vir die BMus Basisprogram inskryf Die Inleidende Program III Musiek bestaan uit die volgende modules: Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend 171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer. Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend 171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171. Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad 3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het. Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf, bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik. Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek gebaseer is, word ter afronding aan die hand gedoen.

Thesis (MMus) -- University of Stellenbosch, 2005. / ENGLISH ABSTRACT: South African education is currently moving in a new direction that is aimed at representing all the cultures of the country. Music education is grouped as part of the Arts and Culture learning area of Curriculum 2005 and the implication is that instrumental music teaching is being marginalized at the expense of general music teaching. In the past these two were regarded as separate subjects that each had its own dedicated syllabus. This thesis is geared toward the preservation of instrumental music teaching (in this case piano) as part of the Arts and Culture learning area of Curriculum 2005 by means of a complementary teaching program whereby general music teaching and instrumental music teaching can be taught in conjunction with each other. This approach is based on Gane (1996) who suggests activities and approaches to music education that can support the co-operation between these two areas of music teaching. This thesis is an exploratory study to determine if co-operation between prescribed music curricula and the suggestions for music activities and approaches as proposed by Gane (1996), have the potential to bridge the gap between general music teaching and instrumental music teaching. At the onset of this study it was not to test a predetermined hypothesis, but rather to establish the possibility of a complementary teaching model for music teaching. This research project was done according to the qualitative research methodology as it was done it was done in a social setting. This research project was done over a period of six months with a group of ten learners whose progress ranged from beginner to grade 2 level. A variety of music compositions was selected and applied in the practice of the music lesson to demonstrate the application of the music activities as suggested by Gane (1996). The ultimate goal of the use of the music compositions was to indicate how prescribed and additional music can be explored to optimize the learners' knowledge from the two fields of music learning. The following syllabi were used for this thesis: the British National Curriculum (1995), as well as these South African syllabi: Curriculum for Extra-Curricular Music - piano (1993), the Interim Syllabus for Classmusic (1995), and Curriculum 2005 (1997). The reasons for the focus on these specific syllabi in this research project are as follows: firstly the British National Curriculum serves as framework for Gane's (1996) article "Instrumental performance and the National Curriculum: a possible partnership?" and this forms the foundation for this thesis; secondly the Curriculum for Extra-Curricular music (piano) deals with instrumental music teaching and the Interim Syllabus for Classmusic deals with general music teaching and these are the two aspects of music teaching in South Africa which this thesis aim to bring together; and lastly the Curriculum 2005 (1997) is the curriculum whereby education is currently being practiced in South Africa. The most important finding of this study is that the proposed teaching method is workable for music education if certain conditions as is discussed in chapter 4 are in place. It has also been found that because this is an exploratory study, there is room for more empirical research in this regard. In conclusion it can be said that since this study revealed the possibility for an exploratory teaching method for music teaching, this teaching method does have merit. / AFRIKAANSE OPSOMMING: In Suid-Afrika is opvoeding tans besig om in 'n nuwe rigting te beweeg wat daarop gemik is om verteenwoordigend van al die land se kulture te wees. Musiekopvoeding word as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea gegroepeer en die implikasie is dat instrumentale musiekonderrig ten koste van algemene musiekonderrig ter syde gestel word waar dit voorheen as aparte vakke geag was wat elk volgens 'n afsonderlike sillabus onderrig was. Hierdie tesis poog vir die behoud van instrumentale musiekonderrig (in hierdie geval klavier) as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea by wyse van 'n komplementêre onderrigprogram waarbyalgemene musiekonderrig en instrumentale musiekonderrig in wisselwerking met mekaar onderrig kan word. Hierdie benadering word op Gane (1996) se voorstelle vir aktiwiteite en benaderings tot musiekonderrig gebaseer aangesien hierdie skrywer ook 'n samewerking tussen die twee areas van musiekonderrig beywer. Hierdie tesis is 'n verkenningstudie om te bepaal of voorgeskrewe musiekkurrikula in samewerking met Gane (1996) se voorstelle vir aktiwiteite en benaderings tot musiekonderrig toegepas kan word om die oorbrugging tussen algemene musiekonderrig en instrumentale musiekonderrig, wat as twee aparte afdelings van musiekonderrig beskou word, te bewerkstellig. Die aanvang van hierdie tesis was nie om 'n voorafbebaalde hipotese te toets me, maar eerder om die moontlikheid van 'n komplementêre onderrigmodel vir musiekonderrig te bepaal. Die studie is volgens die kwalitatiewe navorsingsmetode gedoen aangesien dit in 'n sosiale opset plaasgevind het. Hierdie navorsingsprojek is oor 'n tydperk van ses maande en met 'n groep van tien leerders gedoen wie se vorderingstadia van beginner tot graad twee strek. Verskeie komposisies is geselekteer en in die musieklespraktyk uitgetoets wat daarop gemik is om algemene musiekonderrig by instrumentale musiekonderrig te laat aansluit, ter illustrasie van Gane (1996) se voorgestelde raamwerk vir musiekonderrig. Die uiteindelike doel met die gebruik van die gekose repertorium is om aan te dui hoe voorgeskrewe en aanvullende onderrigmateriaalontgin kan word om leerders se kennis vanuit die twee onderrigvelde bymekaar te bring en aan te vul. Die volgende sillabusse is in hierdie tesis uiteengesit: Die British National Curriculum (1995) en ook verskeie Suid-Afrikaanse kurrikula - dit wil sê die Kurrikulum vir Buitekurrikulêre musiek (klavier) (1993), die Tussentydse sillabus vir Klasmusiek (1995) en Kurrikulum 2005 (1997). Die redes waarom die voorafgenoemde sillabusse in die navorsingsprojek ingesluit is, is soos volg: eerstens dien die British National Curriculum as raamwerk vir Gane (1996) se artikel "Instrumental performance and the National Curriculum: a possible partnership?" en dit is waarvolgens hierdie tesis geformuleer is; tweedens handel die Kurrikulum vir Buitekurrikulêre musiek (klavier) oor instrumentale musiekonderrig en die Tussentydse sillabus vir Klasmusiek oor algemene musiekonderrig - hierdie twee onderrigvelde is juis die twee aspekte van Suid-Afrkaanse musiekonderrig wat hierdie tesis poog om by mekaar te laat aansluit; en laastens word Kurrikulum 2005 ingesluit omdat dit die onderrigprogram is waarvolgens opvoeding tans in Suid-Afrika gepraktiseer word. Die belangrikste bevinding van hierdie studie is dat hierdie voorgestelde onderrigmetode vir musiek werkbaar is indien daar sekere voorwaardes soos in hoofstuk 4 bespreek, in plek is. Ter afsluiting is daar ook bevind dat aangesien hierdie tesis as 'n verkenningsstudie gedoen was, daar ruimte vir meer empiriese navorsing in hierdie verband is. Die gevolgtrekking is dat aangesien hierdie studie die moontlikheid vir 'n ontginnende onderrigmetode vir instrumentale musiekonderrig aandui, hierdie metode wel meriete het.

Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: This study involves the research and documentation to develop an integrated, outcomesbased curriculum for music education in Grade 8 in South Africa by using guided composition as a teaching method. Directives from the new national curriculum, i.e. Curriculum 2005, the current Western Cape Education Department's syllabus for Music and the British National Music Curriculum are considered and applied. Composition is a medium that assists learners in exploring sound in an approach that emphasizes discovery through processes of creative thinking when organizing sound. Music as an art form cannot be mastered through discussion and performance alone. This study focuses on how composition helps learners to explore and discover through problem-solving activities when learning to think in sound and to manipulate the language of music. General perspectives on music education curricula are researched to determine an acceptable theoretical proficiency level for Grade 8. The praxial music educational approach of David Elliott is used as a philosophical foundation for developing the composition program curriculum. Actively making music, developing musicianship and developing creativity in music education form the backbone of this author's approach and hence an accountable basis for a curriculum. Fundamental issues in developing a curriculum are examined, the crux being how we learn. Cognitive apprenticeship and reflective thinking as praxial techniques focussing on integrated and holistic learning are proposed as a methodology for a music education curriculum, in this case composition. A curriculum for guided composition is designed and set out in four stages according to the four stages of curriculum development as proposed by David Elliott. Orientation, preparation and planning, teaching and learning and evaluation and assessment are addressed. This composition program attempts to situate and activate musical learning by proposing teaching and learning skills through which learners can activate and catalyze their creativity. When learning and experiencing music in a situated, authentic and practical way, as through composition, lifelong involvement, musical skills and continued enjoyment and accountability for the subject can be stimulated and established. / AFRIKAANSE OPSOMMING: Hierdie studie behels die navorsing en dokumentasie van die ontwikkeling van 'n geïntegreerde, uitkomsgebaseerde kurrikulum vir musiekopvoeding in Graad 8 in Suid- Afrika deur begeleide komposisie as 'n onderrigmetode te gebruik. Riglyne uit die nuwe nasionale kurrikulum, nl. Kurrikulum 2005, die huidige Wes-Kaap Onderwysdepartement se sillabus vir musiek en die Britse Nasionale Musiekkurrikulum word ondersoek en toegepas. Komposisie is 'n medium wat hom by uitstek daartoe verleen om op ontdekkende wyse, deur middel van kreatiewe prossesse, klank te eksploreer wanneer dit georganiseer word. Musiek as kunsvorm kan nie bemeester word deur blote besprekings oor musiek en voordrag alleen nie. Hierdie studie ondersoek hoe komposisie leerders kan help om te eksploreer en te ontdek deur middel van probleemoplossingsaktiwitieite wanneer hulle leer om in klank te dink en die taal van musiek te manipuleer. Breë perspektiewe op musiekopvoedkundige kurrikula word ondersoek om 'n aanvaarde vlak van teoretiese bevoegdheid vir leerders in Graad 8 te bepaal. Die praksiële musiekopvoedkundige benadering van David Elliott is die vertrekpunt om as filosofiese basis vir die ontwikkeling van hierdie komposisieprogram te dien. Aktiewe musisering. die ontwikkeling van musiseerderskap en die stimulering van kreatiwiteit in musiekopvoeding vorm die ruggraat van hierdie outeur se benadering en derhalwe 'n besinde basis vir 'n kurrikulum. Fundamentele aangeleenthede in die ontwikkeling van 'n kurrikulum word ondersoek, waar die kruks lê in hoe ons leer. Kognitiewe vakleerlingskap en reflektiewe denke is praksiële tegnieke wat fokus op geïntegreerde en holistiese leer en word voorgestel as 'n metodologie vir 'n musiekopvoedkundige kurrikulum, in hierdie geval komposisie. 'n Kurrikulum vir begeleide komposisie word ontwerp en word voorgestel in vier fases volgens die vier fases van kurrikulum-ontwikkeling van David Elliott nl. oriëntasie, voorbereiding en beplanning, onderrig en leer en evaluasie en assessering. Die komposisieprogram word geëvalueer en metodes van kurrikulum-evaluering word beskryf. Die komposisieprogram poog om musikale leer te situeer en te aktiveer deur onderrigen leervaardighede voor te stel waardeur leerders hul kreatiwiteit kan aktiveer en kataliseer. Wanneer musiek in 'n gesitueerde en outentiek praktiese wyse geleer en ervaar word, soos deur komposisie, kan lewenslange leer, musikale vaardighede, voortgehoue genot van musiek en regverdiging van die vak gestimuleer en gevestig word.

Thesis (PhD) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition The aim of this thesis is to assemble the 109 secular songs of John Blow in one anthology, to transcribe them into modem notation and in doing so to make them accessible for modem use and further research. A significant feature of this collection is a group of 13 songs which have not been printed previously and which are available only in manuscript form in special collections in Great Britain. Other songs published during Blow's lifetime are likewise found in special collections which are not accessible to the public. Many of these songs are hard to decipher because of ageing. In some cases the paper is so thin that the notes show through from the back to the detriment of readibility. Where the manuscripts as well as contemporary publications exist, significant comparisons could be made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118 manuscript could be compared with the published version in Choice Ayres and Songs printed by Godbid and Playford (jnr) in 1683. An important 'discovery' was finding that an autograph manuscript, Ah me, undone! (Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw (1980), but an excerpt from the song Happy the Man who languishing (1700). This made it possible to compare an original manuscript by Blow with a publication of the same song by Playford. The 20th century has seen renewed interest in Blow's work: Frederick George Edwards (1902) and William Cummings (1908), in particular, started this revival in interest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) was responsible for the next phase. Since 1975, Bruce Wood has been the main researcher of Blow's anthems. Anthony Rooley, director of the Consort of Musicke in London and Peter Holman, director of the Parley of Instrument, have contributed greatly to the recent (1987-1999) revival of interest in Blow's music with their performances and recordings making use of original instruments. This thesis, as well as my Master's thesis (Grobler 1993), forms part of the most recent stage of research into Blow's works. Volume 1: In the first chapter of the thesis the secular song of the English Restoration (1660- 1714) is presented in perspective. Blow's stylistic characteristics as they manifest themselves in his secular songs are discussed. The criticism that this style evoked from music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of French and Italian vocal music, as well as the strong influence of Charles II's preferences on . court composers' music, are highlighted. The function of the song in Restoration society is discussed. In the second chapter Blow's contribution to the different song types are discussed in detail: the solo songs, songs for two voices and dialogues, songs for more than two voices and songs for incidental theatre music. The editorial process followed in transcribing the songs is explained. This is based on the methods suggested in Caldwell (1985) and described in the Musica Britannica. A discussion of the performing practice of the song contributes towards understanding the Restoration song. The textual commentary deals with aspects, such as notation and provides more information about the manuscripts and publications which form the basis of this investigation. A systematic index of sources and songs is provided. Volume 2: In this volume the 109 songs are presented chronologically in modem edited form. The songs reflect the original manuscript or publication as clearly as possible; old English spelling has been retained but archaic English letter forms have been modernised. Clef signs, time signatures, and key signatures, as well as accidentals, have been used according to modem practice. The figured bass is given as featured in the sources and is not realised or expanded. / AFRIKAANSE OPSOMMING: Die sekulêre liedere van John Blow (1649-1708): 'n edisie Die hoofdoel van die proefskrif is om John Blow se 109 sekulêre liedere toeganklik te maak vir uitvoerings- en navorsingsdoeleindes deur hulle vir die eerste keer as een versameling bymekaar te bring, getranskribeer in moderne musieknotasie. Van besondere belang is die insluiting van dertien van Blow se liedere wat nog nie voorheen gepubliseer is nie en slegs in manuskripvorm in spesiale versamelings in Engeland beskikbaar is, en liedere wat wel tydens Blow se lewe gepubliseer is, maar eweneens nie toeganklik is vir die algemene publiek nie. Die leesbaarheid van sommige liedere word bemoeilik as gevolg van die ouderdom en toestand van die papier. In 'n paar gevalle is die papier so dun dat die agterste notebeeld deurslaan en die leesbaarheid erg belemmer. Waar 'n manuskrip en kontemporêre weergawe van 'n lied bestaan, kon betekenisvolle vergelykings getref word. 'n Belangrike 'ontdekking' wat gemaak is, is dat die outograaf-manuskrip vanAh me, Undone (Lbl Add. 31457) nie 'n afsonderlike lied is soos wat Watkins Shaw (1980) dit gelys het nie, maar 'n gedeelte is van die lied Happy the man, who languishing (1700). Dit maak dit moontlik om in dié een geval Blow se oorspronklike komposisie te vergelyk met Playford se gepubliseerde weergawe daarvan. Dit is eers gedurende die twintigste eeu dat belangstelling in Blow se musiekgeleidelik begin posvat het. Frederick George Edwards (1902) en veral William Cummings (1909) het 'n belangrike rol in die Blow-herlewing gespeel. Harold Watkins Shaw neem vanaf 1936 die leiding met Leland Clarke (1949), 'n Amerikaner, wat die die volgende fase verteenwoordig. Bruce Wood staan vanaf 1975 aan die voorpunt met sy navorsing oor Blow se Anthems. Anthony Rooley, direkteur van die Consort of Musicke in Londen asook Peter Holman, direkteur van die Parley of Instruments het vanaf 1987 met hulle uitvoerings en opnames 'n groot rol gespeel om Blow se musiek weer aan die publiek bekend te stel. Hierdie tesis, asook my Magister-verhandeling (Grobler 1993) vorm ook deel van hierdie nuwe belangstelling in Blowen Engelse Restourasie-musiek. Volume 1: In die eerste hoofstuk word die sekulêre lied van die Engelse Restourasie-era (1660- 1714) in perspektief geplaas. Saam met 'n bespreking oor bydraes van John Blow, Henry Purcell en hulle tydgenote tot die genre, word die ontwikkeling van die lied en uitvoeringspraktyke daarvan krities ondersoek. Terselfdertyd word insae verkry in die' tydgenootlike liedpublikasies in Engeland gedurende die laat 17de en vroeg 18de eeu. Daarna volg 'n bespreking van Blow se styleienskappe soos dit veral in die sekulêre lied manifesteer. Kritiek wat Blow se werkswyse deur die eeue van musiek-kritici soos bv. Charles Burney (1726-1814) uitgelok het, word in historiese perspektief geplaas. Blow se bydrae tot die verskillende liedtipes word breedvoerig bespreek: die sololied, die twee-stemmige lied en dialogue, die lied vir meer as twee stemme en die lied as bykomstige teatermusiek. Die styleienskappe van hierdie liedere, die invloed van die Franse en Italiaanse vokale komposisies en die sterk invloed wat Charles II se voorkeure op die hofkomponiste se musiek gehad het, word uitgewys. Die funksie van die lied in die destydse samelewing kom ook onder die loep. Die redaksionele werkswyse wat gevolg is met die transkribering van die liedere is gebaseer op moderne benaderings tot dié veld soos Caldwell (1985) dit voorstaan en toegepas word in die Musica Britannica (1953, 1993, 1996). 'n Bespreking oor die uitvoeringspraktyk van die lied wil 'n bydrae lewer tot die begrip van die term 'Song' soos dit in die Restourasie-tydperk verstaan is. Die tekstuele kommentaar lig aspekte soos notasie in die liedere uit en gee toeligting oor manuskripte en publikasies wat die ondersoek ten grondslag lê. Ten slotte word al 109liedere, asook liedmusiek, en -publikasies in 'n sistematiese indeks saamgevat. Volume 2: In dié volume verskyn die 109 sekulêre liedere chronologies in moderne geredigeerde vorm. Die liedere word sover moontlik weergegee soos dit in die oorspronklike manuskripte en publikasies voorkom: die ouer Engelse spelling word behou maar argaïese lettervorme is gemoderniseer. Sleuteltekens, tydmaattekens, toonsoorttekens en skuiftekens is in ooreenstemming met huidige praktyke. Die besyferde bas IS weergegee soos dit in die bronne voorkom, en is nie aangevul of gerealiseer nie.

Thesis (MMus) -- University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This study aims to present a cultural monograph of two contemporary South African musicians, Mantombi Matotiyana and Maxanjana Mangaliso. Both musicians are highly regarded and respected for their exceptional musical abilities within their community and society, as well as abroad. This study furthermore wishes to make a contribution towards the establishment of 'experience-based' ethnomusicological field research in South Africa. In keeping with these aims, the material, which has been assembled from personal interviews with Matotiyana and Mangaliso, is in narrative. It is based on their personal memories, recollections and perspectives, as well as their views about and attitudes towards their songs, all aspects of composition, instruments and performance. The study therefore looks at the interaction between the lives and the songs of Matotiyana and Mangaliso and relates it to their relevant experiences. The musicological study of Matotiyana's songs further illuminates her particular style, as well as her contribution to contemporary Xhosa bow songs in general, especially within the broader context of Xhosa musical traditions. / AFRIKAANSE OPSOMMING: Hierdie studie poog om 'n kulturele monografie van die twee kontemporêre Suid- Afrikaanse musici Mantombi Matotiyana en Maxanjana Mangaliso voor te lê. Beide kunstenaars word as gevolg van hul buitengewone musikale bekwaamhede besonder hoog aangeskryf en gerespekteer, sowel binne hul eie breë gemeenskap asook in die buiteland. Terselfdertyd poog hierdie studie om 'n bydrae te maak tot die vestiging van die sg. "experience-based" tipe etnomusikologiese veldwerk in Suid-Afrika. Dienooreenkomstig word die inligting wat deur middel van persoonlike onderhoude met Matotiyana en Mangaliso versamel is, in verhaalvorm aangebied. Dit is gebaseer op hul eie herinneringe en perspektiewe, asook hulopvattings t.o.v. hul liedere, alle aspekte van hul komposisie, hul instrumente en opvoerings. Die studie kyk gevolglik na die wisselwerking tussen die twee musici se lewens en hul musiek en bring hul eie ervarings in hierdie verband ter sprake. Verder verskaf die analitiese studie m.b.t. die liedere van Matotiyana insig in haar unieke styl en bydrae tot eietydse Xhosa boogmusiek, veral binne die breër konteks en tradisies van Xhosa musiek in die algemeen.

Thesis (M. Mus.) -- University of Stellenbosch, 2002. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in the two-piano literature and gives an insight into the composer's earlier style of composition. Few works of this complexity exist in the two-piano literature. The process of transcription has to take into account the composer's structural and tonal language, and in particular the problems of transferring a composition from string instruments to the piano. The transcriber cannot imagine how the composer would have done a similar transcription, but the intentions of the composer in the original version can be interpreted and transferred in a stylistically acceptable manner. At all times the possibilities of the instruments should be taken into consideration. Given the complex sound texture of the original version, the suggestions for a twopiano version have to incorporate the following: note length and rest length, sound colour, attack/articulation, bowing, articulation markings, effects and texture. In the assignment an explanation is given of the deviations that stem from the above factors. The awareness of these deviations necessitates a distinction between arrangement and transcription and compels the transcriber to be as faithful to the original score as possible. The explanation of deviations further provides the performer with an awareness of the artistic possibilities that the work provides. / AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die tweeklavier-literatuur. Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op 'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die instrumente moet ook te alle tye in ag geneem word. Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe, fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings, effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die artistieke moontlikhede van die werk.

Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Music teaching in groups is an important aspect of the development of the child in Foundation Phase teaching. Early childhood has been described as the most critical period in the child’s musical development. With the introduction of Outcomes based Education in South Africa, the curriculum regarding the presentation of music classes has changed. Similarities between music group classes and Gestalt Play Therapy were investigated, with the aim of incorporating concepts of Gestalt Play Therapy into music group classes. Legislation was studied in order to determine the expectations of the South African government, and specifically the education departments, relating to music teaching. In the present curriculum, the weight allocation for music in the Foundation Phase was significantly reduced from what it was previously. Teachers must structure their own music programme into their curriculum. Investigation into the presentation of creative music group classes, with the incorporation of the principles of Gestalt Play Therapy, was undertaken in this research study. Gestalt Play Therapy is a holistic approach that combines the principles of Gestalt theory with Play Therapy. Research was undertaken to investigate whether specific stages in Gestalt Play Therapy could be successfully combined with music group classes. This research emphasizes that the developmental stages of the child, specifically physical, neurological, cognitive and language development, should be taken into account when presenting lessons, and that children may be guided towards a higher level of integration and balance in themselves. Research into OBE principles suggests that the way forward could be a continuation of the OBE model, but with certain amendments. An inductive study of practical observation and presentation of creative group classes was undertaken. It was found that most teachers were not adequately qualified to present music classes, and creativity was not satisfactorily addressed in their lessons. / AFRIKAANSE OPSOMMING: Musiekonderrig in groepe is ‘n belangrike aspek rakende die ontwikkeling van die kind in Grondslagfase onderrig. Vroeë kinderjare word beskryf as die mees kritieke periode in die kind se musikale ontwikkeling. Met die inwerkingstelling van Uitkomsgebaseerde onderrig in Suid-Afrika, het die kurrikulum aangaande die aanbieding van musiekklasse verander. Ooreenkomste tussen musiekonderrig in groepe en Gestalt Spelterapie is ondersoek, met die doel om konsepte van Gestalt Spelterapie in musiekonderrig in groepe te inkorporeer. Wetgewing is bestudeer om die verwagtinge, aangaande musiekonderrig, van die Suid Afrikaanse regering, en spesifiek die onderwysdepartemente, te bepaal. Binne die huidige kurrikulum is die gewig toegeken aan musiek, binne die Grondslagfase, aansienlik verminder van voorheen. Onderwysers moet self hul musiekprogramme binne hulle kurrikulum struktureer. ‘n Ondersoek is geloods om die aanbieding van kreatiewe musiekonderrig in groepe te kombineer met die beginsels van Gestalt Spelterapie. Gestalt Spelterapie is ‘n holistiese benadering wat die beginsels van Gestalt teorie kombineer met Spelterapie. Navorsing is gedoen om te bepaal of spesifieke stadia in Gestalt Spelterapie suksesvol gekombineer kan word met musiekonderrig in groepe. Hierdie navorsing benadruk dat die ontwikkelingsstadia van die kind, spesifiek fisiologies, neurologies, kognitief en taalontwikkeling, in ag geneem moet word wanneer lesse aangebied word, en dat kinders hierdeur gelei kan word na ‘n hoër vlak van innerlike integrasie en balans. v Navorsing gedoen betreffende die beginsels van Uitkomsgebaseerde onderrig is aanduidend dat hierdie onderrigmodel wel voortgesit sou kon word, maar met bepaalde aanpassings. ‘n Induktiewe studie van praktiese waarneming sowel as aanbieding van kreatiewe groepsklasse is onderneem. Daar is bevind dat die meeste onderwysers nie voldoende gekwalifiseerd is om musiekklasse aan te bied nie, en kreatiwiteit is ook nie bevredigend in hulle lesse aangespreek nie.

Thesis (MMus) (Music))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING:In Suid-Afrika, soos in ander lande, gebeur dit dikwels dat sangers in een of ander stadium van hul loopbaan met stemmoeilikheid/’n stemprobleem te doen kry. Die mees algemene reaksie is om ’n oor-, neus- en keelspesialis (ONK-spesialis) te besoek vir hulp. Die sangaktiwiteit vereis egter ’n baie fyn gebalanseerde kondisie van die sangapparaat en dit blyk dat die oorsprong van die meeste stemprobleme onder sangers funksioneel van aard is. Daarom word daar van die veronderstelling uitgegaan dat die mees suksesvolle behandelingsroete vir die sanger met ‘n stemprobleem ‘n integrale interdissiplinêre benadering behels wat nie net die ONK-spesialis insluit nie, maar ook ‘n spraakterapeut en sangpedagoog. Anders as in Suid- Afrika, word hierdie interdissiplinêre benadering alreeds algemeen toegepas in lande soos die VSA en Brittanje. Hierdie studie vind plaas vanuit die oogpunt van die sangpedagoog en identifiseer die nodige kennis en praktiese ondervinding wat sodanige sangpedagoog sal benodig om suksesvol as deel van ’n interdissiplinêre span in die behandeling van sangers met stemprobleme te funksioneer. Om hierdie doel te verwesenlik, neem die studie die vorm van ’n gevallestudie aan waarin die navorser binne die bestek van verskeie maande konsultasies met sangers met stemprobleme binne ‘n mediese stemkliniek onder leiding van ’n ONKspesialis prakties geobserveer het. Deurgaans word sodanige gevallestudies weergegee en bespreek. Dit sluit o.a. die rol van elk van die interdissiplinêre spanlede, oorsake en behandeling van tipiese stemprobleme onder sangers, asook die spesifieke rol van die sangpedagoog in die behandelingsproses, in. In die geheel het hierdie studie getoon dat daar ’n groot leemte en onkunde onder baie sangers bestaan (veral amateursangers) wat die nodige sorg en hantering van hul sangstem betref. Hiperfunksionele stemproduksie a.g.v. foutiewe stemgebruikgewoontes, afwesigheid van sangopleiding en onkunde op die gebied van stemhigiëne en -sorg was opvallend. Dit blyk dat die sangpedagoog, in noue samewerking met die ONK-spesialis en spraakterapeut, ‘n kritieke leemte kan vul in die gespesialiseerde opvoeding en behandeling van sangers met stemprobleme. / ENGLISH ABSTRACT: In South Africa, as in other countries, singers frequently happen to experience voice problems at some or other stage in their career. The general reaction to this problem is to seek help from an ear, nose and throat specialist (ENT specialist). Seeing that the activity of singing requires such a finely balanced condition of the vocal instrument, it seems that the origin of most voice problems singers experience are of a functional nature. This study is based on the premise that the most successful way of treating an artist with a voice problem is via an integrated interdisciplinary team approach, which includes an ENT specialist as well as a speech therapist and a singing pedagogue. Unlike in South Africa, this interdisciplinary approach is already common practice in countries such as the USA and the UK. The study is conducted from the viewpoint of a singing pedagogue. It identifies the knowledge and practical experience the singing pedagogue would require to function successfully as part of an interdisciplinary team in the treatment of singers with voice problems. To succeed in this goal the study takes on the form of a case study. The researcher practically observed consultations with singers over several months in a medical voice clinic under the leadership of an ENT specialist. These case studies are reflected and discussed throughout this thesis. Amongst others, this includes the role of each member of the interdisciplinary team, the causes and treatment of typical voice problems amongst singers, as well as the specific role of the singing pedagogue in the treatment process. It is found that a great deal of ignorance exists amongst many singers (especially amateur singers) in respect of the necessary care and management of their singing voice. Hyperfunctional voice production due to incorrect voice-use habits, the absence of vocal training and ignorance regarding vocal hygiene and voice care were encountered frequently.