Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: As an instrument the recorder enjoys an active following in South African schools, in tertiary institutions and in private tuition. In spite of this healthy interest, few teachers and students are afforded significant exposure to essentially good recorder playing, nor do they receive specialised tuition in the various aspects of this field of study. The development - and popularity - of the recorder reached a high point during the Baroque era. During this period the greatest repertoire for the instrument was composed. It is to this music that the player is mostly exposed. The French Baroque falls within the broader Baroque period and has provided a substantial repertoire that is freely available and regularly performed, either as part of an examination programme or as a self-study piece at eisteddfodau. It is clear, however, that among South African recorder teachers and students, the background knowledge required for a historically informed performance of pieces from this period is generally insufficient. The reason for this could be a lack of exposure to this particular style: a problem that cannot be overcome without a concerted effort on the part of the teachers and students to redress it. The purpose of this study is to stimulate an enthusiasm for French Baroque music among teachers and students, and to provide them with a store of knowledge they can then apply in a meaningful way in practice. It is far easier for the musician of the 21st century to look back objectively at the developments of the Baroque period and to appreciate the prolific contributions of the musicians of the time. However, it is important to remember that the numerous examples, expositions and definitions left to us by the composers of the Baroque should be interpreted as guidelines, rather than rigid rules. It is of crucial importance that these guidelines - ornamentation and its conventions, articulation, variable rhythmic groupings, as well as a background knowledge of the composers and the repertoire - be subjected to an in-depth study. Subsequently, by cultivating an instinct for good taste and judgment, justice will be done to the music of the French Baroque. / AFRIKAANSE OPSOMMING: Blokfluit, as instrument, geniet 'n aktiewe belangstelling in Suid-Afrikaanse skole, tersiêre instansies asook in privaatonderrig. Ten spyte van hierdie belangstelling, word min onderwysers en studente aan goeie blokfluitspel en gespesialiseerde opleiding in die verskillende fasette rakende die vakgebied blootgestel. Die blokfluit het tydens die Baroktydperk sy grootste ontwikkeling en gewildheid beleef. Dit is tydens hierdie tydperk wat die meeste repertorium vir die instrument gekomponeer is; derhalwe is dit die musiek waaraan die blokfluitspeler die meeste blootgestel word. Die Franse Baroktydperk maak deel uit van hierdie tydgleuf en heelwat repertorium is geredelik beskikbaar en word deur spelers aangebied, hetsy as deel van 'n eksamenprogram of as 'n keuse vir byvoorbeeld 'n eisteddfod. Dit blyk egter dat 'n gebrek aan agtergrondkennis om werke uit hierdie tydperk op 'n histories ingeligte wyse uit te voer 'n probleem by Suid-Afrikaanse blokfluitonderwysers en - spelers te wees. Die rede hiervoor kan 'n gebrek aan blootstelling wees. Die leemte kan nie sonder meer oorbrug word as daar nie 'n doelbewuste poging deur die onderwysers en studente daartoe aangewend word nie. Hierdie studie se doel is om onderwysers en studente se entoesiasme aangaande Franse Barokmusiek aan te wakker en kennis daaroor te laat inwin ten einde dit in die praktyk sinvol te kan toepas. Die musikant van die een-en-twintigste eeu kan makliker objektief terugkyk na die ontwikkelinge wat tydens die Baroktydperk plaasgevind het as die musikant wat in die tyd geleef het. Die voorbeelde, uiteensettings en omskrywinge wat komponiste van daardie tyd nagelaat het, moet verkieslik as riglyne geïnterpreteer word, en nie as onbuigbare reëls nie. Dit is wel van uiterste belang dat hierdie riglyne - die versieringskuns, ornamentele gebruike, artikulasie, ongelykmatige ritmiese groeperings asook die agtergrondkennis rakende komponiste en repertorium - deeglik bestudeer word. Met die nodige kennis en blootstelling sal goeie oordeel by die uitvoer van die Franse 8arokmusiek sy beslag kry.

For a composer of today, the relationship between new music and music from many centuries past remains problematic. In order to create something new, it is necessary to go beyond previous techniques of composition in some way. At the same time, new music that has no connection with music of the past runs the risk of irrelevance. Just tuning offers one possibility for reconciling this problem. By effectively warping music of the past through the lens of altered tuning and contemporary composition techniques, music of the past may be understood in previously unknown ways. Part I, the critical essay, presents historical background and analysis of a cycle of three works in altered/just tuning. Part II presents scores of the works.