Die Kubaanse komponis Leo Brouwer (1939- ) het ʼn unieke idiomatiek vir die kitaar ontwikkel wat met die eerste oogopslag ingewikkeld lyk (en klink), maar steeds logies is en gemaklik onder die vingers lê. In hierdie mini-verhandeling word Brouwer in konteks geplaas met ontwikkelings in Kuba. Biografiese agtergrond van sy lewe word verskaf, en sy werke word in drie komposisiefases verdeel. Elke komposisiefase word afsonderlik bespreek met fokus op die volgende solo kitaarwerke: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li></ul> Hierdie werke word bespreek meestal in terme van komposisietegnieke en notasie. Aspekte wat Brouwer se idiomatiek verduidelik word uitgelig en die toeganklikheid van die werke word krities geëvalueer. Brouwer se groei en ontwikkeling as komponis word uitgewys, en sy invloed op hedendaagse komponiste en kitaarspelers word bespreek. Daar word bevind dat die idiomatiek in Brouwer se geselekteerde solo kitaarwerke ʼn dominante rol speel in sy benadering tot kitaarkomposisie. Die studie is veral vir kitaarkomponiste van waarde om sinvolle komposisie-besluite te kan maak. ENGLISH : The Cuban composer Leo Brouwer (1939- ) developed an idiomatic writing style for the classical guitar which is an important factor when the difficult technical requirements of the guitar are taken into consideration. This idiomatic writing style might seem (and sound) complex at first glance, but is in fact logical and easily accessible on the instrument. In this mini-dissertation Brouwer is placed in context with political and artistic development in Cuba. Biographical background of his life is given, and his works are divided into three compositional periods. Each period is discussed separately with the focus on the following solo guitar works: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li> </ul> These solo guitar works is discussed mostly in terms of compositional techniques and notation. Aspects that describe Brouwer’s idiomatic writing style are emphasised, and the accessibility of the works is critically evaluated. Brouwer’s development as a composer is highlighted, and his influence on guitar composers and guitarists is discussed. As a conclusion it is shown that the idiomatic writing style of Brouwer plays a leading role in his approach to solo guitar composition. The study is of value to guitar composers when sensible compositional decisions have to be made. / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

Peter and the Wolf (1936) is a transmedial work based on a Russian fairy tale composed and written by Sergey Prokofiev . Prokofiev’s purpose with the work was amongst others to introduce children to the instruments of the symphony orchestra. This study examines the possibility of creating a new Afrikaans versification of the text in order to introduce this work to Afrikaans-speaking children. The creative product of the research consists of a picture book and a corresponding soundtrack together with the original music and a recitation of the text. The researcher cooperated with other artists in order to achieve the final product. Since the realisation of a creative product forms an integral part of this study, practice-based research has been utilised. The framework for practice-based research by Scrivener and Chapman (2004) has been used for the design of the study, the implementation thereof (theory and practice), as well as for the structure of the dissertation. The first step of the framework of Scrivener and Chapman (2004) entails the pre-project reflection, i.e. the identification of issues, as well as the concerns and interests of the researcher. It is important to the researcher that children are exposed to the instruments of the symphony orchestra, and she is also interested in picture books and fairy tales. Research revealed that there is no recent Afrikaans version of Peter and the Wolf. She consequently decided to do a versification of the text. The identification of the source domains relevant to the research theme and the creative project forms the second step of the framework. The initial source domains that were identified and studied were the theoretical concepts of intertextuality, intermediality and creative adaptation (Chapter 2). Peter and the Wolf originated as an intermedial work and thus the intermedial creative product is also a creative adaptation of the original work. As the study progressed, additional domains for research have been identified and examined. These are music, narrative poetry, children’s book illustrations, developmental psychology, cognitive narratology and information regarding the listener or reader (Chapter 3). Insight into the art forms and media can positively influence the progress of the creative product and can aid in creating an improved understanding of the intermedial effect of the total creative product. Because the target audience of the picture book is children between the ages of six and eight years, research was done on the developmental psychology of the child in the middle childhood years. In combination with this, cognitive narratology was studied to determine the reception of the creative product, and to assist with the analysis of the existing texts of Peter and the Wolf. Thereafter three existing editions of Peter and the Wolf were studied, based on the theoretical framework, and the intermedial interplay and creative possibilities for different medial combinations were examined (Chapter 4). These texts are: 1) a picture book, translated by Lydia Pienaar (1975); it is an equivalent translation of the original Russian text and has become a classical edition of the work in Afrikaans; 2) a poetic version by Philip de Vos of a performance text with the original music (2003); and 3) an alternative modern edition with musical arrangement, text and illustrations by Gavin Friday and Bono (2003). The latter combination of text, music, illustrations and recitation, was also used for the creative work in this study. Cycles of production and work reflection form part of the creative phase of practice-based research. In Chapter 5, the different phases of the versification process are discussed by analysing different versions of the manuscript. There is also a report on the co-operation with the other artists, and the development of the different media (the illustrations, the music realisation, the recitation and the sound mixing). In the post-project reflection the interplay between the theoretical research and the creative work was examined, as well as the contribution of the different research fields to the final creative project and the intermedial interplay between the different media that were used in the creative work. It was found that practice-based research is a very successful research method for a postgraduate study in which a creative project forms part of the study. The research method is not only advantageous for the development of the creative project, but also for thorough theoretical research. Furthermore, the researcher came to the conclusion that an improved understanding of the complex theoretical approaches develops when they are practically applied. This understanding is not necessarily based on theoretical research, but on the experience that was gained throughout this study. The creative product of this study can expand the horizon of the child in an intermedial way that will benefit the listener. Insight has been obtained on the way in which such a project can be undertaken. Furthermore, other intermedial projects can flow from this project. A translation of the poetic text can make this book and CD accessible to a large number of South African children. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2015

The church music of the Southern African Dutch Reformed Church is in the midst of a paradigm shift: traditional liturgy is changing; in many church services well-known organ music and congregational singing are making way for music in a contemporary style. A music band is often used instead of the organ and hymns from the Liedboek are mostly replaced by songs in various styles. Traditional liturgical music is in a period of uncertainty and experimentation. The views of clergymen and church musicians seem to often and increasingly diverge when considering spirituality of the services and the role that congregational music plays in the spirituality. Research has shown that the organ is still the music instrument of choice for services of the Dutch Reformed Church and that 90% of clergymen find the use of organ music in church a positive experience. The average post-modern church member prefers that traditional and current musical styles are used side-by-side in the liturgy and liturgical music of the church to cater for the requirements of the different spiritual styles in congregations. The writer establishes that effective organ playing, with or without other instruments, can adequately provide for the majority of these post-modern worship styles. It is necessary that organists adapt to the changing demands of congregations through continued studies. / MMus (Musicology), North-West University, Potchefstroom Campus, 2014

Peter and the Wolf (1936) is a transmedial work based on a Russian fairy tale composed and written by Sergey Prokofiev . Prokofiev’s purpose with the work was amongst others to introduce children to the instruments of the symphony orchestra. This study examines the possibility of creating a new Afrikaans versification of the text in order to introduce this work to Afrikaans-speaking children. The creative product of the research consists of a picture book and a corresponding soundtrack together with the original music and a recitation of the text. The researcher cooperated with other artists in order to achieve the final product. Since the realisation of a creative product forms an integral part of this study, practice-based research has been utilised. The framework for practice-based research by Scrivener and Chapman (2004) has been used for the design of the study, the implementation thereof (theory and practice), as well as for the structure of the dissertation. The first step of the framework of Scrivener and Chapman (2004) entails the pre-project reflection, i.e. the identification of issues, as well as the concerns and interests of the researcher. It is important to the researcher that children are exposed to the instruments of the symphony orchestra, and she is also interested in picture books and fairy tales. Research revealed that there is no recent Afrikaans version of Peter and the Wolf. She consequently decided to do a versification of the text. The identification of the source domains relevant to the research theme and the creative project forms the second step of the framework. The initial source domains that were identified and studied were the theoretical concepts of intertextuality, intermediality and creative adaptation (Chapter 2). Peter and the Wolf originated as an intermedial work and thus the intermedial creative product is also a creative adaptation of the original work. As the study progressed, additional domains for research have been identified and examined. These are music, narrative poetry, children’s book illustrations, developmental psychology, cognitive narratology and information regarding the listener or reader (Chapter 3). Insight into the art forms and media can positively influence the progress of the creative product and can aid in creating an improved understanding of the intermedial effect of the total creative product. Because the target audience of the picture book is children between the ages of six and eight years, research was done on the developmental psychology of the child in the middle childhood years. In combination with this, cognitive narratology was studied to determine the reception of the creative product, and to assist with the analysis of the existing texts of Peter and the Wolf. Thereafter three existing editions of Peter and the Wolf were studied, based on the theoretical framework, and the intermedial interplay and creative possibilities for different medial combinations were examined (Chapter 4). These texts are: 1) a picture book, translated by Lydia Pienaar (1975); it is an equivalent translation of the original Russian text and has become a classical edition of the work in Afrikaans; 2) a poetic version by Philip de Vos of a performance text with the original music (2003); and 3) an alternative modern edition with musical arrangement, text and illustrations by Gavin Friday and Bono (2003). The latter combination of text, music, illustrations and recitation, was also used for the creative work in this study. Cycles of production and work reflection form part of the creative phase of practice-based research. In Chapter 5, the different phases of the versification process are discussed by analysing different versions of the manuscript. There is also a report on the co-operation with the other artists, and the development of the different media (the illustrations, the music realisation, the recitation and the sound mixing). In the post-project reflection the interplay between the theoretical research and the creative work was examined, as well as the contribution of the different research fields to the final creative project and the intermedial interplay between the different media that were used in the creative work. It was found that practice-based research is a very successful research method for a postgraduate study in which a creative project forms part of the study. The research method is not only advantageous for the development of the creative project, but also for thorough theoretical research. Furthermore, the researcher came to the conclusion that an improved understanding of the complex theoretical approaches develops when they are practically applied. This understanding is not necessarily based on theoretical research, but on the experience that was gained throughout this study. The creative product of this study can expand the horizon of the child in an intermedial way that will benefit the listener. Insight has been obtained on the way in which such a project can be undertaken. Furthermore, other intermedial projects can flow from this project. A translation of the poetic text can make this book and CD accessible to a large number of South African children. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2015

The church music of the Southern African Dutch Reformed Church is in the midst of a paradigm shift: traditional liturgy is changing; in many church services well-known organ music and congregational singing are making way for music in a contemporary style. A music band is often used instead of the organ and hymns from the Liedboek are mostly replaced by songs in various styles. Traditional liturgical music is in a period of uncertainty and experimentation. The views of clergymen and church musicians seem to often and increasingly diverge when considering spirituality of the services and the role that congregational music plays in the spirituality. Research has shown that the organ is still the music instrument of choice for services of the Dutch Reformed Church and that 90% of clergymen find the use of organ music in church a positive experience. The average post-modern church member prefers that traditional and current musical styles are used side-by-side in the liturgy and liturgical music of the church to cater for the requirements of the different spiritual styles in congregations. The writer establishes that effective organ playing, with or without other instruments, can adequately provide for the majority of these post-modern worship styles. It is necessary that organists adapt to the changing demands of congregations through continued studies. / MMus (Musicology), North-West University, Potchefstroom Campus, 2014

This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain. In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa. The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God. The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain. Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy. The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry. The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship. / Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.

This thesis investigated the approach to, and the conducting of worship services in ten missional faith communities of the Dutch Reformed Church in South Africa during the period 2004 – 2009. It investigated the shift in theological paradigm (towards mission) taking place in the Dutch Reformed Church from 2002 onwards, and the effects thereof on liturgy and music in the worship domain. In order to contextualise the liturgical developments emanating from the case studies, the history and liturgy of the Dutch Reformed Church in South Africa were traced back to the early Dutch pastors arriving with the first settlers at the Cape Colony in 1652. The historical events leading to the Dutch Reformed Church being labelled as the state church and its sanctioning of the apartheid ideology were placed in perspective as a result of the successes of missionary work in South Africa. The missional paradigm was unpacked according to the missio Dei. God is the primal agent in mission and calls His church into mission, and sending the church to restore society. Created in the imago Dei, human beings have a responsibility towards contextual society in everyday life. Missional worship therefore becomes a paradigmatic way of life. God is the focal point in worship and liturgy: it is all about God. The core of the research revolves around the ten missional faith communities, eight of which were part of the initial Southern African Partnership for Missional Churches project. Unstructured interviews were conducted with pastors, musicians and persons involved in the focussed missional activities within these congregations. Having an insider's perspective on the project, the researcher included his own narrative in order to further underline the changes taking place in the worship domain. Liturgy in the faith communities under investigation was found to be shifting towards ecumenical models: the gathering, the service of the Word, the service of the Table, and the sending. A trend to celebrate the Eucharist/Holy Communion more frequently than the tradition dictated was also noted in the communities. In general, a more creative approach towards the planning and execution of liturgy has been observed – this freedom allowing for the Holy Spirit to move the faith community during worship, and was vastly different to the cognitive historical liturgy. The music ministry has developed into a new paradigm from the historical role of the organist. Music was found to become a focal point, manifesting as liturgical art, pointing towards God and enabling the faith community to meet God in worship. This led to the change in the role of the church musician in terms of scope and spiritual/religious value. The shift towards leading the liturgy and shaping the faith community through music has been noted – thus establishing a music ministry. The Eucharist/Holy Communion is presented as a metaphor, the underlying basis for a model in music ministry. Music ministry is now defined under the theological lens as being sacramental in nature. In closing, recommendations are made to address the re-education of church musicians and theologians to deal with the theological changes taking place in worship. / Thesis (PhD (Music))--North-West University, Potchefstroom Campus, 2013.

The composer Stefans Grové not only contributed to South African art music but also achieved success in the field of literature. The aim of this study is to investigate the relationship between his prose and his music and determine the influence of word art on meaning in his compositions. The relationship between literature and music is explored as background to the investigation of Grové’s oeuvre. The role of music in Grové’s short stories and sketches is determined. It seems that music is not a significant theme of these tales but rather has a supporting function. In some stories music plays no role at all. However, these narratives do provide a great deal of biographical and cultural information. Word art is an essential part of Grové’s compositions and plays a key role in the determining and communication of meaning. His art reflects the variety of cultures native to South Africa. These cultural influences are manifested in his compositions and are reinforced by the accompanying word art. The need for a comprehensive biography about Grové’s contribution as academic, composer, critic and writer has been identified during the course of this study. / Dissertation (MMus (Music Science))--University of Pretoria, 2007. / Music / MMus / unrestricted

Graad R verwys volgens die nuutste Afrikaanse beleidsdokumente na die voorskoolse opleiding wat tans in die Suid-Afrikaanse skoolstelsel ingefaseer word, alhoewel die Departement van Basiese Onderwys beoog dat alle leerders eers in 2019 toegang sal hê tot formele graad R-programme. Uitdagings vir onderrig in vroeë kinderontwikkeling in Suid-Afrika is onder meer ʼn tekort aan gekwalifiseerde onderwysers, asook leer- en ondersteuningsmateriaal van ʼn hoë gehalte. Die Kurrikulum- en Assesseringsbeleidsverklaring (KABV) vir graad R bestaan uit drie vakke: Huistaal, Wiskunde en Lewensvaardighede. Lewensvaardighede bestaan uit vier studie-areas, naamlik Aanvangskennis, Skeppende kunste, Liggaamsopvoeding, asook Persoonlike en Sosiale Welsyn. Slegs dertig minute per week word as deel van Skeppende kunste toegestaan aan formele musiekonderrig. Wanneer musiek in die dagprogram met ander aspekte van graad R-onderrig en -leer integreer word, word die holistiese ontwikkeling van die leerder bevorder. Graad R-onderwysers het egter selde in musiek gespesialiseer en is onseker oor die implementering daarvan in hul onderrigprogramme. Uitvoerbare moontlikhede word in hierdie proefskrif ondersoek om musiek in die graad R-dagprogram te integreer ten einde ʼn bydrae te lewer tot die sosiale, fisiese, emosionele, intellektuele en geestelike ontwikkeling van graad R-leerders. Die hoofnavorsingsvraag wat hieruit ontstaan, is watter teoretiese raamwerk verduidelik hoe musiek in graad R geïntegreer kan word. Die navorsingsbenadering wat gevolg is om hierdie vraag te ondersoek, is ʼn kwalitatiewe, veelvoudige gevallestudie vanuit ʼn interpretatiewe perspektief. Aanvanklik is ʼn literatuurstudie gedoen om huidige tendense ten opsigte van die integrasie van musiek in graad R te beskryf. Daarna is die onderrig en leer in vyf multikulturele graad R-klasse in die Potchefstroom-omgewing waargeneem met die doel om die maniere waarop musiek in die praktyk geïntegreer word, in te samel. Die data is toe met behulp van Atlas.ti 7.1.6 georganiseer en gekategoriseer, waarna ʼn oorkruis gevalle-analise gedoen is. Die bevindinge is geverifieer deur langtermyn-waarneming en deelnemer-kontrole. ʼn Teoretiese raamwerk is ontwikkel deur die ses temas wat uit die data-analise gegenereer is in verband te bring met ʼn geïntegreerde literatuuroorsig. Hierdie aspekte vir die integrasie van musiek in graad R waardeur onderrig en leer kan plaasvind, is geïdentifiseer as oor musiek, uit musiek, op musiek, met musiek, in musiek en deur musiek. In die raamwerk word elke aspek van integrasie verbind met aktiwiteite wat gebaseer is op die leerbeginsels vir graad R, naamlik spel, ontdekking en praktiese ervarings, ten einde die ontwikkeling van die graad R-leerder te bevorder. Alhoewel die bevindinge spesifiek is tot die Potchefstroom-omgewing, hou die teoretiese raamwerk verskeie moontlikhede in vir nasionale en internasionale toepassing in voorskoolse onderrig. Dit impliseer dat musiek suksesvol in die graad R-dagprogram geïntegreer kan word deur musiekspesialiste sowel as onderwysers wat nie in musiek gespesialiseer het nie. / PhD (Music), North-West University, Potchefstroom Campus, 2014

The live music performance industry is growing tremendously in South Africa, with more and more international artists performing on our shores year after year. Competition is growing and various companies are beginning to identify this as a business opportunity to make money. However, managing live music performances is a complex task which involves managing various aspects (critical success factors) of the event in order to ensure that it is a success. Apart from this, visitors attend these performances hoping that their expectations will be exceeded and the performance is something which can be treasured and is worth remembering once everything is over. This is referred to as a memorable experience. In order to ensure a memorable visitor experience, it is essential for managers to be aware of what the visitors regard as important critical success factors. These are aspects that management can control and improve. Thus, the critical success factors should be implemented effectively in order to ensure that the event is memorable for visitors attending the live music performance. While various critical success factors are familiar to event organisers, they differ from event to event. Thus, the critical success factors of one event cannot be implemented at another with the same expectation of success. This is due to the heterogeneous groups of people who attend these events and who cannot be regarded as being the same, as each individual will have different expectations of the same event. Therefore, it is also important for the managers of live music performances to determine how the visitors to the different genre events regard the various critical success factors that are vital for a memorable experience. This is significant, as various music genres attract different attendees who each have their own expectations of a music genre and which may differ from those of visitors to other music genres. For example, the expectations for a memorable experience of individuals attending a classical live music performance will differ from individuals attending a rock or pop live music performance. In addition, it is also important for management to compare those critical success factors identified by the visitors to their own ideas of what is important for a successful event in order to identify any shortcomings. Thus, it was expedient to seek answers to the questions of what visitors to live music performances regard as important critical success factors as well as what the managers consider to be important for a memorable experience. Therefore, the purpose of this study was to determine the critical success factors for managing a memorable visitor experience at live music performances from both the demand and supply sides. The said factors were subsequently compared in order to establish whether any shortcomings exist. This thesis comprises three articles. Firstly, the research was conducted from a demand (visitors) side. Thus, the aim of Chapter 3 was to determine what attendees at live music performances regard as being critical success factors for different music genres so as to enhance memorable visitor experiences. Surveys were conducted at various genres of live music performances which included classical music (Il Divo), R&B (Usher), rock (Sting), blues (Michael Buble), pop (Roxette) and Afrikaans music (Steve Hofmeyr). A total of 4 110 questionnaires were administered and a general profile of the visitors in terms of the different genres was compiled. A factor analysis was subsequently performed in order to determine the critical success factors for all six genres. Thereafter, an Analysis of variance (ANOVA) was applied in order to compare the critical success factors of the various genres with one another. The results indicated significant statistical differences amongst the different music genres with regard to that which the visitors to the different live music performances regard as being important for a memorable visitor experience. Secondly, the research was conducted from a supply (managers) side and the objective of Chapter 4 was to determine what the managers consider to be important critical success factors in ensuring a memorable visitor experience at a live music performance. A qualitative research method, by means of interviews, was used to obtain the relevant information from the selected participants. All the data collected in the process were transcribed into text and presented in a narrative form. The six step method formulated by Cresswell (2009:185-189) for data analysis and interpretation was used to analyse the data. Four major themes emerged from the analysis where each theme was differentiated in terms of various categories and subcategories. This process contributed greatly towards gaining detailed information regarding the main purpose of organising a live music performance; identifying the aspects that managers consider to be important when organising a live music performance and those aspects that are important in pre-, during- and post-event planning phases as well as how managers define a memorable experience. Lastly, in Chapter 5 a comparison was performed between the demand and supply sides of live music performances in order to establish whether any differences exist amongst the aspects that management consider to be important compared to the critical success factors that the visitors regard as being important to achieve a memorable visitor experience. Both qualitative (supply side) and quantitative (demand side) research methods were implemented in this research. The results of the critical success factors drawn from the first and second articles were used to conduct this research. The results of both the demand and supply sides were subsequently compared with one another where significant differences had been identified. This was the first time that research was conducted from both the demand and supply sides within the live music performance environment. The results of this research contribute greatly to literature and to the music industry. In addition, this was also the first time that both a qualitative and a quantitative research method were applied in research conducted at live music performances and which were subsequently compared with one another. Determining the differences between the critical success factors identified contributes towards event specific education and information for current as well as future live music performance managers. Therefore, results of this research can be employed to educate and inform current and future managers in the live music performance industry regarding important aspects relating to the enhancement of the important critical success factors that contribute to a memorable experience when individuals attend a live music performance. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014