Als führende musikausbildende Institution der Habsburgermonarchie zog das 1817 gegründete Konservatorium für Musik und darstellende Kunst der Gesellschaft der Musikfreunde in Wien – 1909 verstaatlicht und umbenannt in k. k. Akademie für Musik und darstellende Kunst – zahlreiche Studierende aus den Kronländern der cisleithanischen Reichshälfte sowie den Ländern der ungarischen Krone an.

The Dutch born organist, conductor, music pedagogue, church musician and composer, Willem Mathlener left a rich inheritance in the field of organ music in South Africa. He was born in 1909 in Delft in the Netherlands and distinguished himself as an organist and conductor in the thirties and forties of the previous century. He answered the calling of the Nederduitsch Reformed Church in South Africa to improve the standard of church music by immigrating to South Africa in 1948 at the age of 39. He settled in Vereeniging as a music teacher and organist from where he started to introduce his ideas about church music to the Nederduitsch Reformed Church and others. This led to the establishment of the Council for Church Music in 1951. Three years later the Church Music School in Krugersdorp was founded. This institution developed to such an extent that the Conservatoire for Music, Pretoria was established in 1960, the institution that Mathlener was mostly associated with. He implemented his beliefs about musical training which was the result of his own training at a European Conservatoire at both these institutions. As the secretary of the Council for Church Music he had a profound influence on the development and promotion of church music in South Africa. He assisted in the compilation of the Psalm and Hymn book of 1978 by supplying a large number of harmonisations for Hymns in this volume. As an organ advisor he designed about 200 organs. Mathlener’s talent as a composer developed naturally through his capacity as church musician and pedagogue. He composed organ music that can be used supplementary to the organist’s task as accompanist. His piano music fills the need for short study pieces for piano tuition. Since the majority of Mathlener’s compositions do not exceed 30 bars he can be considered to be a miniaturist. His choral arrangements show for the most part a diatonic tonality and a contrapuntal texture which blends in with the style of music for liturgical use. A Psalm or Hymn melody forms mainly the basis for his organ music. Mathlener’s large compositional output which comprises 223 choral harmonisations, 175 works for organ, 53 works for piano and 12 vocal works created the need for a system to arrange his compositions in an orderly fashion. Some of his compositions were published in volumes and others are single unpublished works. The catalogue attempts to arrange Mathlener’s compositions in a logical way thus forming a comprehensive picture of the oeuvre of this composer as well as providing a useful reference tool for organists and other interested people. / Dissertation (MA)--University of Pretoria, 2015. / tm2015 / Music / MA / Unrestricted

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Felix Saul (1883-1942) var verksam som körledare, musikskribent och musikpedagog, och undervisade främst i sin egen musikskola, Stockholms privata konservatorium (SPK). Syftet med studien är att undersöka den pedagogik som Felix Saul tillämpade i sin musikundervisning i barngrupper på SPK. Empirin utgörs av intervjuer med Sauls tidigare elever, och av hans egna artikelserier om musikpedagogik. Materialet har analyserats utifrån ett övergripande kulturpsykologiskt perspektiv. Resultatet visar att Sauls undervisning som syftade till att utveckla elevernas musikalitet i stor utsträckning följde Tonika-do-metoden som den beskrivs av samtida litteratur, men att han lade större vikt vid ackordfunktioner och rytmikövningar, och att lek var en central del av undervisningen. Genom undervisningen fick eleverna tillgång till en omfångsrik verktygslåda med kulturella verktyg i form av konventioner att strukturera, uttrycka och representera musik, som de i fortsatt lärande kunde kombinera till individuella strategier för notläsning, interpretation och i musiklyssnande. Av studien har också framkommit att Saul var en betydelsefull musikpedagog trots att han inte fullt ut var accepterad av etablissemanget. / Felix Saul (1883-1942) was engaged as a choiremaster, music writer and music teacher, mainly at his own music school: Stockholms privata konservatorium (SPK). The purpose of this study is to describe how Felix Saul tought children's groups at SPK, and what pedagogy he employed. The empirical material consists of interviews with students who participated in Saul's children's groups and Saul's own series of articles about his music pedagogy. The material has been analyzed from a cultural psychological perspective. The result show that the teaching methods used by Saul to a large extent followed the Tonika-do method as it was described in the contemporary literature, but with a bigger emphasis on harmonic theory and eurhythmics, and that playing games was a central part of the educational activities. The education gave the students access to cultural tool-box a variety of tools in the form of established music-cultural conventions of structuring, expressing and representing music, that they could combine to create individual learning strategies for sight reading, interpretation as well as listening to music. In this study Saul has emerged as an influential music educator even though he was not fully accepted by the establishment.

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Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise. Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.

Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise. Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.