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The aim of this study is to identify the main differences in compositional style in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three Incantations for flute, clarinet and piano, and Khalagari for flute and piano). After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural elements, it was clear that the two composers’ composition style is different from one another. Differences can be identified under the following main points: form structure, melodic and harmonic content, recurring motives and texture. Hofmeyr makes use of traditional form structures, such as sonata form, ternary form, and theme and variations. Johnson does not use traditional form structures and makes use of free form structures, such as: A1-A2-A3-A4-A5- A6-A7 (second movement from Khalagari), ABABC (third movement from Three Incantations), and A1-A2-B-A3-closing section (first movement from Three Incantations). The first movement from Khalagari is the only movement where references to sonata form can be found. Hofmeyr uses existing modes and scales in his works. Both his Sonata per Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous examples where he makes use of the octatonic scale and the phrygian mode. Examples of the hexatonic scale can be found in the first and second movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord structures are also based on these scales and modes. Alexander Johnson does not use any of the above-mentioned scales, but rather makes use of his own scale (labeled as the “Johnson-scale” in this study). His chord structures are also based on this scale. Hofmeyr does not use themes and motives from other compositions in the three works in this study. He does however combine themes from earlier movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e Pianoforte. Johnson combines motives and themes from other compositions in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study. / Thesis (DMus)--University of Pretoria, 2014. / tm2015 / Music / DMus / Unrestricted

Frans Hendrik Odendaal is in 1898 op Kimberley gebore. Hy het sy jeugjare op Boshof deurgebring en matrikuleer in 1916. Deur privaatstudie kwalifiseer hy in 1927 as prokureur. Hy is in 1919 met Magdalena Petronella du Plessis getroud. Uit hierdie huwelik is vier dogters gebore. Na h kart wewenaarskap tree hy in 1948 met Magdalena Jacoba Truter in die huwelik. Uit hierdie huwelik is twee dogters gebore, terwyl hy die dogters uit Magdalena Truter se vorige huwelik wettiglik aangeneem het. In 1928 vestig Odendaal horn as prokureur op Nylstroom w~ar hy by sy vennoot, adv J G Strijdom se politieke bedrywighede inskakel. In 1938 word hy lid van die Nasionale Party van Transvaal se Inligtingsburo. Gedurende die Tweede Wereldoorlog was hy vir h kort tydperk Kommandant van die OssewaBrandwag in die Waterberg. In 1948 is hy tot L P R vir Waterberg verkies en in 1952 tot L U K. In 1958 is hy as Administrateur van Transvaal benoem. Hy het geskiedenis in Transvaal gemaak deurdat hy die eerste Administrateur was wat uit die geledere van die Provinsiale Raad in die gesogte pas benoem is. Odendaal het bekendheid verwerf as eerste voorsitter van TRUK en vir sy aandeel in die bevordering en opbou van die kunste in Transvaal. Insgelyks het hy kuns in Suid-Afrika op h ordelike grondslag geplaas. Hy kan as een van die grondleggers van georganiseerde streekrade vir die kunste in Suid-Afrika beskou word. As Administrateur het hy horn verder onderskei as onderwysvernuwer en bevorderaar van snelboumetodes in die provinsiale geboue-program in Transvaal. Voorts het hy baie bygedra tot die groat ontwikkeling op nywerheids- en verkeersgebied in sy provinsie. Tussen 1952 en 1966 was hy ononderbroke voorsitter van die Nasionale Parkeraad. Hy was deels daarvoor verantwoordelik dat di~ organisasie tot h winsgewende en ordelike besigheidsonderneming uitgebou is. In die proses het hy natuurbewaring in die hele Suid-Afrika bevorder. Hy was oak voorsitter van die veelbesproke Kommissie van ondersoek na aangeleenthede in Suidwes-Afrika en kan beskou word as die vader van vernuwing en ontwikkeling in moderne Namibie. Hy is in 1966 na h hartaanval oorlede. / Frans Hendrik Odendaal was born at Kimberley -in 1898. He grew up in Boshof where he matriculated in 1916. Through private studies he quaiified as an attorney in 1927. He married Magdalena Petronella du PlessLs in 1919. Four daughters were born from this marriage. In 1948, after a short period as a widower, he married Magdalena Jacoba Truter. Two daughters were born from this marriage, while he legally adopted Magdalena Truter's two daughters from a previous marriage. In 1928 Odendaal settled at Nylstroom and practised as an attorney. He became involved with the political activities of his partner, adv J G Strijdom, and in 1938 he became a member of the National Party's Bureau of Information. During the Second World War he acted for a short period as Commandant of the Ossewa Brandwag in the Waterberg district. In 1948 he was elected M P C for Waterberg and in 1952 became M E C. In 1958 he was nominated as Administrator of Transvaal. He made history by becoming the first Transvaal Administrator to be selected from the ranks of the Provincial Council. Odendaal distinquished himself as the first Chairman of P A C T and for promoting the performing arts in Transvaal. At the same time he placed the performing arts on a sound footing in South Africa. He can be regarded as one of the founders of regional councils for the performing arts in South Africa. As Administrator he excelled as educational innovator in his province, and he also promoted quick building methods in the provincial building programme. He also contributed towards the development of industries and transport in his province. For the entire period between 1952 and 1966 he was chairman cf the National Parks Board. Due partially to his edeavours, the Board was developed into a profitable business organisation. In the process he played an important role in developing and promoting nature conservation throughout South Africa. He was also chairman of the commission of enquiry into the affairs of South West Africa and can be considered the father of development and renewal in modern Namibia. He- died of a heart attack in 1966. / History

Frans Hendrik Odendaal is in 1898 op Kimberley gebore. Hy het sy jeugjare op Boshof deurgebring en matrikuleer in 1916. Deur privaatstudie kwalifiseer hy in 1927 as prokureur. Hy is in 1919 met Magdalena Petronella du Plessis getroud. Uit hierdie huwelik is vier dogters gebore. Na h kart wewenaarskap tree hy in 1948 met Magdalena Jacoba Truter in die huwelik. Uit hierdie huwelik is twee dogters gebore, terwyl hy die dogters uit Magdalena Truter se vorige huwelik wettiglik aangeneem het. In 1928 vestig Odendaal horn as prokureur op Nylstroom w~ar hy by sy vennoot, adv J G Strijdom se politieke bedrywighede inskakel. In 1938 word hy lid van die Nasionale Party van Transvaal se Inligtingsburo. Gedurende die Tweede Wereldoorlog was hy vir h kort tydperk Kommandant van die OssewaBrandwag in die Waterberg. In 1948 is hy tot L P R vir Waterberg verkies en in 1952 tot L U K. In 1958 is hy as Administrateur van Transvaal benoem. Hy het geskiedenis in Transvaal gemaak deurdat hy die eerste Administrateur was wat uit die geledere van die Provinsiale Raad in die gesogte pas benoem is. Odendaal het bekendheid verwerf as eerste voorsitter van TRUK en vir sy aandeel in die bevordering en opbou van die kunste in Transvaal. Insgelyks het hy kuns in Suid-Afrika op h ordelike grondslag geplaas. Hy kan as een van die grondleggers van georganiseerde streekrade vir die kunste in Suid-Afrika beskou word. As Administrateur het hy horn verder onderskei as onderwysvernuwer en bevorderaar van snelboumetodes in die provinsiale geboue-program in Transvaal. Voorts het hy baie bygedra tot die groat ontwikkeling op nywerheids- en verkeersgebied in sy provinsie. Tussen 1952 en 1966 was hy ononderbroke voorsitter van die Nasionale Parkeraad. Hy was deels daarvoor verantwoordelik dat di~ organisasie tot h winsgewende en ordelike besigheidsonderneming uitgebou is. In die proses het hy natuurbewaring in die hele Suid-Afrika bevorder. Hy was oak voorsitter van die veelbesproke Kommissie van ondersoek na aangeleenthede in Suidwes-Afrika en kan beskou word as die vader van vernuwing en ontwikkeling in moderne Namibie. Hy is in 1966 na h hartaanval oorlede. / Frans Hendrik Odendaal was born at Kimberley -in 1898. He grew up in Boshof where he matriculated in 1916. Through private studies he quaiified as an attorney in 1927. He married Magdalena Petronella du PlessLs in 1919. Four daughters were born from this marriage. In 1948, after a short period as a widower, he married Magdalena Jacoba Truter. Two daughters were born from this marriage, while he legally adopted Magdalena Truter's two daughters from a previous marriage. In 1928 Odendaal settled at Nylstroom and practised as an attorney. He became involved with the political activities of his partner, adv J G Strijdom, and in 1938 he became a member of the National Party's Bureau of Information. During the Second World War he acted for a short period as Commandant of the Ossewa Brandwag in the Waterberg district. In 1948 he was elected M P C for Waterberg and in 1952 became M E C. In 1958 he was nominated as Administrator of Transvaal. He made history by becoming the first Transvaal Administrator to be selected from the ranks of the Provincial Council. Odendaal distinquished himself as the first Chairman of P A C T and for promoting the performing arts in Transvaal. At the same time he placed the performing arts on a sound footing in South Africa. He can be regarded as one of the founders of regional councils for the performing arts in South Africa. As Administrator he excelled as educational innovator in his province, and he also promoted quick building methods in the provincial building programme. He also contributed towards the development of industries and transport in his province. For the entire period between 1952 and 1966 he was chairman cf the National Parks Board. Due partially to his edeavours, the Board was developed into a profitable business organisation. In the process he played an important role in developing and promoting nature conservation throughout South Africa. He was also chairman of the commission of enquiry into the affairs of South West Africa and can be considered the father of development and renewal in modern Namibia. He- died of a heart attack in 1966. / History

This thesis argues that the Swedish Gymnsatics League during the 1930’s articulated, what in previous research has been called a citizenship project. This citizenship project was formulated against the backdrop of the widely held gymnastic ideological belief about a ‘sound mind in a sound body’. In the historical context regarding the contemporary problem concerning the qualitative issue of the people, the gymnasts formulated gymnastics as an activity, aimed to produce an ideal, healthy citizen. In 1934, the Swedish gymnastics started a propaganda organization called National Society for promotion of Gymnastics (Riksföreningen för gymnastikens främjande) and its yearbook. The organization aimed to educate, and convince the Swedish population with the ultimate objective to make them active participants, and practitioners in gymnastic body culture. I argue that the gymnasts, through propaganda media as the yearbook, and the gymnastics display, addressed audiences as civic publics, with the potential of, though gymnastics, obtain properties connected to the idea of the ideal citizen. Regarding the conceptions of the gymnasts’ citizenship ideals, the essay demonstrates how the gymnasts argued that ideal civic virtues was reflected in the individual’s aesthetical bodily properties, which ultimately signified health. Thus, they argued that the properties liked to the ideal citizen only could be obtained through physical exercise, and the cultivation of a ‘healthy’ body, via gymnastic exercises. In the mid-1930’s the Gymnastics League undertook an international mission to display the superiority of Swedish gymnastics in front of foreign audiences, primarily by performing a non-competitive display at the Olympics in Berlin. I argue that this international outlook produced, and enhanced the national significance, and citizenship producing purpose of the gymnastics, especially when transcribed and mediated in the National Society’s yearbook, hence with the aim of addressing Swedish publics. The strategy of convincing the Swedish population of participating in gymnastics, through international exposure culminated at the Lingiad in Stockholm 1939, where the Gymnastics League invited to world in celebration of the centennial memory of the death of Per Hendrik Ling, the creator of Swedish gymnastics. This event displayed en masse what could be achieved through gymnastics, and enhanced the universal significance of Swedish culture in producing ascetically, and therefore civically sound, national citizens.

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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