MOTIVATION FOR THE INVESTIGATION: A real need exists within Departments of Education, schools and other training centres for suitable objective measuring devices for selection, placement and diagnosis regarding the musical aptitude of pupils and students. The sooner special aptitude in a child is discovered and opportunities for further development are given, the better the chances for future success, achievement and self-realisation. PRIMARY OBJECTIVES: This study was undertaken with the purpose of investigating and defining more exactly, on the basis of a review of the literature available on the one hand and the practical application of a number of standardised tests on the other, the essence of musical aptitude. It was also attempted to determine the possible relation between musical aptitude and variables such as the spoken language, sex, age, interests and preferences as well as the influence of musical experiences and training. METHOD: In the first place an extensive review of the literature available was undertaken, numerous descriptions and definitions of aptitude in general and musical aptitude in particular were analysed and the most important elements extracted. On the basis of this procedure a synoptic definition was formulated. Secondly, the measurement of musical aptitude was investigated, the technical requirements and criteria which aptitude measurement must comply with were analysed and a large number of existing musical aptitude tests were reviewed and analysed into components. The purpose was to determine deductively from this the essential characteristics required of a musical aptitude test. In the third place an empirical investigation in three stages was conducted. During the preparatory stage the "Measures of Musical Abilities" test by Bentley was used and a number of experiments were carried out with groups of scholars and students to investigate the area of musical aptitude measurement especially with regards to test reliability and validity. A preliminary investigation with a large number of pupils from 50 primary and 20 secondary schools followed and various statistical techniques were applied to the acquired test data. The Bentley test was once more applied and put to the test under a wide variety of conditions. For the main investigation a stratified sample of 4379 pupils was used as well as a control group of 188 scholars who were at the time engaged in specialised musical training. In addition to the Bentley test Colwell's "Musical Achievement Tests" I and Gaston's "Test of Musicality" was applied, as well as an interest and preference test compiled by the author. The sound tracks of these tests were adapted so that both English and Afrikaans speaking pupils could be accommodated. The statistical operations performed included calculation of correlation coefficient, item analysis and the determining of norms as well as factor analysis. MAIN FINDINGS AND CONCLUSIONS: • Musical aptitude must be regarded as a theoretical construct which explains specific behavioural patterns as reflected in test results. It can further: more be described as the potential ability for musical development, including apprehension, skill and achievement or performance ability. The essence of musical aptitude finds its most distinctive evidence in the conceptual framework of rhythmic, melodic, harmonic and formal relationships which develop through a progressive organisation of musical perceptions • The measurement and evaluation of musical aptitude should include both the perceptual as well as the interpretative aspects. The first include not only mere audio-acoustical perception but especially the judicious-musical perceptual aspect -cognitive operational thought as regards the organisation of sound structures and co-ordination between relationships. Extra-musical factors such as interest, home stimulation, socio-economic background, musical experience and training obviously play an important role in the manifestation of musical aptitude and must be taken into account in evaluation. • The direct relationship between inherited factors and musical aptitude cannot be determined exactly. The speed with which musical tasks can be performed and the individual's eventual level of achievement are probably to some extent dependent on genetic determinants. On the other hand, characteristics acquired by general environmental influences and direct training play an important part. It follows that elements of musical aptitude such as pitch discrimination, rhythmical and tonal memory do not, consequently, represent constant, unchangeable data but are dependent on the influence of musical experience, general mental maturation and the educative process. Interest and motivation are furthermore important factors that will determine if the child's potential aptitude will be fully realised. • From the results of the investigation it follows that sex, socio-economic level and musical preferences are variables significantly affecting test scores. Girls do better in the tests than boys and the socio-economic status and general preferences and taste are clearly reflected in the pupil's test scores. In addition, general intellectual ability and musical background are important for the full development of a child's musical aptitude. Home language and demographic differences between pupils represent factors probably playing a less significant role. • The factors identified by factor analysis can be described as follows: Factor I: a general factor which includes mainly tonal memory and sensory discrimination; Factor II: judicial-musical perceptions as regards tonal-rhythmical elements; Factor III: an aesthetical-discriminative factor which includes general tonal sensitivity; Factor IV: a tonal relationship factor where/with recognition of complex musical relations are enclosed. • On the grounds of extensive statistical analysis executed to determine the general significance and successful functioning of the Bentley, Colwell and Gaston tests the conclusion can be drawn that these tests, with certain reservations, satisfy the essential criteria of reliability, validity and general usefulness. The author's test reveals considerable shortcomings, although it serves a useful purpose in the judgement of taste, preference and interest. From a comparison of the mean test scores of the experimental group and the control group it can be concluded that the tests clearly discriminate between average pupils and those possessing exceptional musical aptitude. ESSENTIAL RECOMMENDATIONS: It is recommended that further research be undertaken with the tests in the research programme, especially with regards to the reliability, validity and general discriminative value of the tests. A longitudinal investigation may further elucidate and confirm the diagnostic significance of the tests, or show up the limitations more clearly. The compilation and standardisation of a South African test of musical aptitude must be considered, taking into account on the one hand the adaptability of existing tests developed overseas, and on the other, the merits and deficiencies of the Wegelin &Wolmarans tests made available by the HSRC. / Proefskrif (DMus)--PU vir CHO

MOTIVATION FOR THE INVESTIGATION: A real need exists within Departments of Education, schools and other training centres for suitable objective measuring devices for selection, placement and diagnosis regarding the musical aptitude of pupils and students. The sooner special aptitude in a child is discovered and opportunities for further development are given, the better the chances for future success, achievement and self-realisation. PRIMARY OBJECTIVES: This study was undertaken with the purpose of investigating and defining more exactly, on the basis of a review of the literature available on the one hand and the practical application of a number of standardised tests on the other, the essence of musical aptitude. It was also attempted to determine the possible relation between musical aptitude and variables such as the spoken language, sex, age, interests and preferences as well as the influence of musical experiences and training. METHOD: In the first place an extensive review of the literature available was undertaken, numerous descriptions and definitions of aptitude in general and musical aptitude in particular were analysed and the most important elements extracted. On the basis of this procedure a synoptic definition was formulated. Secondly, the measurement of musical aptitude was investigated, the technical requirements and criteria which aptitude measurement must comply with were analysed and a large number of existing musical aptitude tests were reviewed and analysed into components. The purpose was to determine deductively from this the essential characteristics required of a musical aptitude test. In the third place an empirical investigation in three stages was conducted. During the preparatory stage the "Measures of Musical Abilities" test by Bentley was used and a number of experiments were carried out with groups of scholars and students to investigate the area of musical aptitude measurement especially with regards to test reliability and validity. A preliminary investigation with a large number of pupils from 50 primary and 20 secondary schools followed and various statistical techniques were applied to the acquired test data. The Bentley test was once more applied and put to the test under a wide variety of conditions. For the main investigation a stratified sample of 4379 pupils was used as well as a control group of 188 scholars who were at the time engaged in specialised musical training. In addition to the Bentley test Colwell's "Musical Achievement Tests" I and Gaston's "Test of Musicality" was applied, as well as an interest and preference test compiled by the author. The sound tracks of these tests were adapted so that both English and Afrikaans speaking pupils could be accommodated. The statistical operations performed included calculation of correlation coefficient, item analysis and the determining of norms as well as factor analysis. MAIN FINDINGS AND CONCLUSIONS: • Musical aptitude must be regarded as a theoretical construct which explains specific behavioural patterns as reflected in test results. It can further: more be described as the potential ability for musical development, including apprehension, skill and achievement or performance ability. The essence of musical aptitude finds its most distinctive evidence in the conceptual framework of rhythmic, melodic, harmonic and formal relationships which develop through a progressive organisation of musical perceptions • The measurement and evaluation of musical aptitude should include both the perceptual as well as the interpretative aspects. The first include not only mere audio-acoustical perception but especially the judicious-musical perceptual aspect -cognitive operational thought as regards the organisation of sound structures and co-ordination between relationships. Extra-musical factors such as interest, home stimulation, socio-economic background, musical experience and training obviously play an important role in the manifestation of musical aptitude and must be taken into account in evaluation. • The direct relationship between inherited factors and musical aptitude cannot be determined exactly. The speed with which musical tasks can be performed and the individual's eventual level of achievement are probably to some extent dependent on genetic determinants. On the other hand, characteristics acquired by general environmental influences and direct training play an important part. It follows that elements of musical aptitude such as pitch discrimination, rhythmical and tonal memory do not, consequently, represent constant, unchangeable data but are dependent on the influence of musical experience, general mental maturation and the educative process. Interest and motivation are furthermore important factors that will determine if the child's potential aptitude will be fully realised. • From the results of the investigation it follows that sex, socio-economic level and musical preferences are variables significantly affecting test scores. Girls do better in the tests than boys and the socio-economic status and general preferences and taste are clearly reflected in the pupil's test scores. In addition, general intellectual ability and musical background are important for the full development of a child's musical aptitude. Home language and demographic differences between pupils represent factors probably playing a less significant role. • The factors identified by factor analysis can be described as follows: Factor I: a general factor which includes mainly tonal memory and sensory discrimination; Factor II: judicial-musical perceptions as regards tonal-rhythmical elements; Factor III: an aesthetical-discriminative factor which includes general tonal sensitivity; Factor IV: a tonal relationship factor where/with recognition of complex musical relations are enclosed. • On the grounds of extensive statistical analysis executed to determine the general significance and successful functioning of the Bentley, Colwell and Gaston tests the conclusion can be drawn that these tests, with certain reservations, satisfy the essential criteria of reliability, validity and general usefulness. The author's test reveals considerable shortcomings, although it serves a useful purpose in the judgement of taste, preference and interest. From a comparison of the mean test scores of the experimental group and the control group it can be concluded that the tests clearly discriminate between average pupils and those possessing exceptional musical aptitude. ESSENTIAL RECOMMENDATIONS: It is recommended that further research be undertaken with the tests in the research programme, especially with regards to the reliability, validity and general discriminative value of the tests. A longitudinal investigation may further elucidate and confirm the diagnostic significance of the tests, or show up the limitations more clearly. The compilation and standardisation of a South African test of musical aptitude must be considered, taking into account on the one hand the adaptability of existing tests developed overseas, and on the other, the merits and deficiencies of the Wegelin &Wolmarans tests made available by the HSRC. / Proefskrif (DMus)--PU vir CHO

In text linguistics coherence is seen as one of the key factors in communication and textual interpretation. Text linguistics, as an inter-disciplinary field of study concerning the textuality of texts in conjunction with coherence, can probably be of great importance in current musicology, especially as the problem concerning musical meaning, is still an ongoing debate. The design of a musical model of coherence relations is a new field of study and can not be connected to present day language models, therefore a new model should be invented. It should be kept in mind that adaptations in text linguistics can be of great influence in musicology today and on music in its relation to language. Musical interlocution forms the basis for musical coherence relations as method of musical communication. Musical communication has its origin in the top/cohesive surface of the musical text and disseminates to the lower/coherensive surface of the musical text. Although there is an interaction between musical cohesion and coherence, coherence relations are more concentrated on the lower level. Musical illocution and musical blended perlocution function within the coherensive musical and word texts. The listener plays a big role in this process, because musical coherence is the platform for musical interpretation. As listeners design a word text around the music text, musical blended perlocution through association results. The addition of associative meaning to the musical text has the result that the linguistic perlocution and the musical perlocution intermix with one another. One must keep in mind that perlocution differs in language and music. It will be indicated that musical coherence relations have a dual character. It will be argued here that the principles of musical textuality, adjusted from those text linguistically practised by De Beaugrande&Dressler (1981) and Carstens (1997, 2000, 2009), as well as the three musical functions, adapted from Austin's (1962) determination in language, figure strongly in J.S. Bach's Schübler Chorales. / Thesis (DMus)--University of Pretoria, 2009. / Music / unrestricted

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

OPSOMMING: 'n Literatuurstudie is onderneem oor musikale ontlening soos dit in verskillende tydperke in die verlede gemanifesteer het. 'n Literatuurstudie is ook onderneem oor die historiese verband tussen Buxtehude en Bach, musikaal en andersins. 'n Indringende ondersoek na ooreenkomste in melodiese openingsformasies in die vrye orrelwerke van Buxtehude en Bach is gedoen. Die resultate is gesistematiseer deur dit in kategorieë in te deel. Repertoriums uit voorafgaande tydperke is betrek, om daaruit gemeenskaplike historiese spore, wat verband hou met die ooreenkomste in tematiese materiaal in die vrye orrelwerke van Buxtehude en Bach, aan te dui. Vroeëre repertoriums wat betrek is, sluit byvoorbeeld Middeleeuse cantus plani, Joodse melodieë soos opgeteken deur Idelsohn, die Geneefse Psalter en vroeë klawerbordliteratuur in. Die resultate van die ontleding is gesistematiseer in 'n nuut-ontwerpte model wat gebaseer is op ooreenkomstige melodiese aanvangspatrone in die vrye orrelwerke van Buxtehude en Bach. Hierdie sistematiese model is nie slegs op die tematiese materiaal van Buxtehude en Bach van toepassing nie, maar ook op tematiese materiaal wat veer verder in die verlede teruggevind kan word, tot sover as die Delfiese himnes van 127 v.C. In hierdie studie is insig in musikale ontlening verkry uit die merkbare ooreenkomste tussen die melodiese aanvangspatrone in die tematiek van Bach se vrye orrelwerke en die van Buxtehude. Die insig is verdiep deur die sistematiese ordening van hierdie ooreenkomste, en die vasstelling dat die ooreenkomste op gemeenskaplike historiese spore teruggaan. In die tradisionele studie van musiektekstuur is harmoniese progressies gesistematiseer met die vier kadense aan die eindes van frases as uitgangspunt. 'n Ooreenkomstige sistematisering van melodiese patrone wat aan die begin van frases voorkom, is egter, sover vasgestel kon word, nog nie voorheen onderneem nie. 'n Nuwe bydrae tot die musiekwetenskap is dus gelewer deurdat die melodiese openingspatrone volgens 'n nuut-ontwerpte model gesistematiseer is. / SUMMARY: Musical borrowing in Western music is a vast field, the history of which, according to J. Peter Burkholder, still has to be written. The main objective of this study is to provide a historical perspective on musical borrowing to serve as a background for a comparative study of thematics in the free organ works of Buxtehude and Bach. However, to provide a more comprehensive perspective on the phenomenon of musical borrowing and traces from the past, one requires a historical consciousness which goes further than Bach's immediate past. The research includes a study of literature on musical borrowing as it has manifested itself in various eras. This literature study also includes an investigation into the historical connection between Buxtehude and Bach, musically and otherwise. Similarities in melodic opening formations in the free organ works by Buxtehude and Bach are pointed out. The results are systematicised by the classification into categories. The classification draws on repertoires from previous eras in order to indicate common historical traces relating to correspondences of thematic material in the free organ works by Buxtehude and Bach. Earlier repertoires include Medieval chants, Jewish melodies recorded by Idelsohn, the Genevan Psalter and early keyboard literature. The results of the analysis are systematised in a newly designed model which is based on corresponding melodic opening patterns in the free organ works by Buxtehude and Bach. This systematic model applies not only to thematic material of Buxtehude and Bach but also to thematic material which can be traced back far further into the past, in fact, as far back as the Delphic hymns of 127 BC. This study provides insight into musical borrowing based on the noticeable similarities between melodic opening phrases in the thematics of the free organ works by Bach and Buxtehude. This insight is enhanced by the systematic ordering of these similarities and the realisation that the similarities are based on common historical traces. In the traditional study of musical texture harmonic progressions are systematised, using the four cadences at the ends of phrases as the point of departure. However, melodic patterns which occur at the beginnings of phrases, have not, as far as I know, been similarly systematised. This systemisation of melodic opening patterns according to a newly designed model therefore constitutes a new contribution to research in musicology. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2010.

One of the most important phases of the piano student's development, is the intermediate phase. It is during this phase that the student must play suitable repertoire that will develop the necessary technical and aural skills and musical maturity in preparation for the advanced piano repertoire. This study was conducted in order to aid the teacher with selecting suitable repertoire for the intermediate piano student. The 11 Pezzi Infantili, composed by the 20th century Italian composer Alfredo Casella, was selected as repertoire suitable for the intermediate piano student. The technical and musical aspects found in these pieces are set out for the teacher to determine whether these pieces are suitable for the student. These aspects will meet the student's level of development and also ensure technical and musical development. Supporting material such as teaching strategies, fingering suggestions, exercises and a background study of the pieces is also provided to assist the teacher during the teaching of these pieces and to ensure better quality teaching. / Die intermediêre fase is van die belangrikste fases in die klavierstudent se ontwikkeling. Die tegniese vaardighede, kritiese luistervermoëns en musikale volwassenheid, nodig vir die speel van gevorderde klavierrepertorium, moet tydens die intermediêre fase deur geskikte repertorium ontwikkel word. Hierdie studie is opgestel en het ten doel om as hulpmiddel vir die klavieronderwyser tydens repertorium-voorskryf vir die intermediêre klavierstudent te dien. Die 20ste eeuse Italiaanse komponis Alfredo Casella se 11 Pezzi Infantili word as geskikte intermediêre repertorium voorgestel. Die tegniese en musikale aspekte van die 11 Pezzi Infantili word uiteengesit, sodat die onderwyser kan assesseer of hierdie stukke vir sy intermediêre student geskik is. Hierdie aspekte is in lieu met die student se vlak van ontwikkeling en sal ook tegniese en musikale ontwikkeling verseker. Onderrigsondersteuning, in die vorm van onderrigstrategieë, vingersettings, begeleidende oefeninge en 'n agtergrondstudie tot die album, word ook voorsien wat die onderwyser as hulpmiddel tydens die onderrig van die stukke kan gebruik om beter gehalte-onderrig te verseker. / Dissertation (MMus)--University of Pretoria, 2016. / Music / MMus / Unrestricted

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.

Composing or arranging for orchestra is a skill which is hard to learn and hard to teach. Literature on orchestration is comprehensive in terms of rules of thumb and these heuristic tools are sometimes called principles of orchestration. However, a study of the literature on orchestration revealed that these 'principles' are not theories about the outcomes and effects of specific decisions made by composers. An exception is the work of George McKay who does indeed establish principles of orchestration to some extent. Granting a few exceptions, literature on orchestration takes as point of departure recommendations about techniques of orchestration and illustrates these techniques with analyses of existing compositions for orchestra. In this study I invert the approach followed in the literature and take music analysis as a point of departure for my study. I used an existing and conventional analysis of Claude Debussy's Syrinx for solo flute from the book Sonic Design: The Nature of Sound and Music by Robert Cogan and Pozzi Escot (1976) as context for my own analysis of Syrinx in which the less familiar type of analysis – the analysis of musical gestures and musical forces – can be understood. This analysis formed the basis for my orchestral composition titled Ananke which is based upon musical gestures from Syrinx. A reinterpretation of Cogan and Escot's analysis of Debussy's Syrinx enabled me to identify the musical gestures I used as a basis for my orchestral composition. Musical gestures are understood in this dissertation in terms of the theory of musical forces by Steve Larson. The objective in composing Ananke, based upon material from Syrinx by Debussy, is to explore different ways in which the musical gestures can be orchestrated in order to amplify the three musical forces namely musical gravity, musical magnetism and musical inertia. This process of composing the orchestral composition enabled me to construe principles of orchestration concerning musical forces and the different ways in which musical forces can be amplified. I found that the approach I followed in this study can indeed be employed in order to investigate and construe principles of orchestration, taking music analysis as a point of departure. This new approach to the study of orchestration opens up new possibilities in teaching and learning orchestration, as well as in composing or arranging for orchestra. / Thesis (MMus (Composition))--North-West University, Potchefstroom Campus, 2013.