DMus, Faculty of Humanities, School of Music, University of the Witwatersrand, 2009 / This study attempts to locate and elucidate the subjective roots of my creative output during the twenty-one-year period, 1985 to 2006. In 1994, a potential socio-political disaster, prompted by the apartheid state, was converted into the model for an almost utopian condition thus enabling the gnawing anguish of the collective to morph into a cautious sense of hope. At the time, as always, my music reflected this sea-change instinctively. I never consciously force my concerns into my work and can only now, with hindsight, trace an unspoken mid-eighties’ hope for the dissolution of individual and collective anguish. What would follow in the wake of such deliverance could not be guessed at the time. The labyrinthine workings of the creative mind are prompted by concerns on a deeply subconscious level and, in this context, they are only decipherable afterwards, either as frustrated hopes or as fulfilled ones. In anticipating, (however unconsciously), the dissolution of institutionalised fascism, my work mapped out the next step via a personalised ideal anticipating a new social order and individual rights as realised in the 1994 constitution. Furthermore, attitude towards my own culture changed, as demonstrated by the use of Afrikaans texts, and heralded a third stage in my projected evolution: the continued discourse between individual and collective identity was now brought into the conscious mind in order to illuminate creativity and infuse future work. It anticipates a reconciliation between the artist and his own personal and collective demons. With the resultant externalisation of such capricious archetypes one accepts an erratic evolution.

A. Scholarly Edition: 1. Zoilo Annibale, Ave Regina a Quattro Chori, ed. by Caponnetto A. and O’Regan N. in Caponnetto A. Ph. D. dissertation, item 2‐ Scholarly Edition, University of Edinburgh, 2011. B. Portfolio Of Compositions: 1. Caponnetto Alfredo, Ave Regina, for eight solo voices or choir and organ, in Caponnetto A. Ph. D. dissertation, item 1, University of Edinburgh, 2011. 2. Caponnetto Alfredo, Dialectic of the Many and the One: Protagoras‐Parmenides‐Gorgias, for piano quintet, in Caponnetto A. Ph. D. dissertation, item 3, University of Edinburgh, 2011. 3. Caponnetto Alfredo, Konzertstück, for piano and orchestra (2009 version), in Caponnetto A. Ph. D. dissertation, item 4, University of Edinburgh, 2011. 4. Caponnetto Alfredo, Meno, quintet, in Caponnetto A. Ph. D. dissertation, item 5, University of Edinburgh, 2011. 5. Caponnetto Alfredo, Phaedrus: Phaedrus’ Speech and Socrates’ Speech, for symphony orchestra, in Caponnetto A. Ph. D. dissertation, item 6, University of Edinburgh, 2011. 6. Caponnetto Alfredo, Symposium I, for xylophone, trombone, oboe and perc., in Caponnetto A. Ph. D. dissertation, item 7, University of Edinburgh, 2011. 7. Caponnetto Alfredo, Symposium II, for soprano and string quartet in Caponnetto A. Ph. D. dissertation, item 8, University of Edinburgh, 2011. 8. Caponnetto Alfredo, The Apology of Socrates, opera‐oratorio, in Caponnetto A. Ph. D. dissertation, item 9, University of Edinburgh, 2011.

No description available.

A body of works titled 'capriccio' have existed for over four hundred years. Most of these works are characterized by a composers abandonment of expected stylistic norms. Guided only by the fanciful whim of the composer, a capriccio exhibits extreme contrasts in the various parameters of a musical composition including melody, harmony, counterpoint, mood and texture. The composition embedded in these compositional parameters as its point of departure and development.

The purpose of this thesis is to bring to light some of the music written for, or especially adaptable to, brass ensembles before the close of the eighteenth century. This study must concern itself with the music which has been preserved and is available, and with such music as can be played on modern instruments. It must be stated that some of the music mentioned herein was not written specifically for brass instruments, but the style and general character of the music make it adaptable for a brass instrumentation.

This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

Of Variegated Shadows is an original composition for wind ensemble. The purpose of the composition is to contribute a work to college level wind ensemble literature which employs established instrumental techniques and explores the various colors or timbres of the ensemble. The work is a single movement of approximately 15 - 20 minutes duration. It is divided into three continuous sections, each reflecting a different character or mood. A transition couples the first and second sections and a coda concludes the composition with a brief return of the opening section. Textures of the piece are transparent with an emphasis given to the blending of different colors in the ensemble. Instrumentation includes antique cymbals, vibraphone and tam-tam to add subtle shades of color. Thematic materials woven into the texture are linearly constructed as well as vertically layered and fragmented. There is no order or system in which pitches occur, although intervals used reflect the motivic structures in the work.