Most extended instrumental playing techniques are still deprived of a conventional method of notation. In order to facilitate the utilisation of these unconventional musical elements, a coherent and consistent notation system is developed in this thesis. It comprises chapters on string instruments, wind instruments, percussion instruments, plucked instruments and keyboard instruments. A systematic notation of unconventional instrumental playing techniques has not yet been attempted, nor have all tech-niques subject to this work yet been explained in detail. In order to coherently depict unconventional playing techniques, a set of criteria is defined. These criteria postulate that all developments are supposed to be 1. As exact as possible and 2. As simple as possible while the system may 3. Not be contradictory to traditional notation, but should instead extend and be closely related to it. Further, in order to guarantee that the additions are consistent, they need to be compatible with, and distinct from, all other signs of the system. Each unconventional playing technique is classified and explained in detail. Subsequently, previous methods of its notation are presented and discussed with regard to the previously defined criteria. Finally, a suggestion for the notation that agrees with the postulations is provided. In the next step the application of the developments is then described by presenting examples from compositions that were either produced during the writing of the thesis or revised by replacing old methods of notation with the developments from this thesis. Altogether examples from eight instrumental works that employ the new methods are displayed.

This selective investigation of contemporary solo violoncello works written between 1980 and 2010 consists of 1075 works, listed in alphabetical order of country and in alphabetical order of composers of each relevant country. Due to the extensive nature of this field, this research only includes works by composers from eight European countries (Austria, Belgium, France, Germany, Italy, Netherlands, Spain and the United Kingdom), as well as Australia, Canada, New Zealand and South Africa. In my considered opinion, the European countries that have been selected are those with a very high musical culture and where composers are very active in this field. The musical life of the United States of America is so huge that it deserves a study of its own. Relevant information of each entry are added, including the approximate duration of each piece, the dedicatee, dates of first performances, recordings and addresses of websites of individual composers. The catalogue is followed by two appendices: one that lists the dedicatee in alphabetical order and the other that lists the works by their approximate duration. The study did not aim to examine the qualitative merits of every piece listed. The catalogue only includes original works for solo violoncello, and music exclusively written for beginner and intermediate levels has not been included. Works written for violoncello and piano, violoncello and orchestra and an amplified violoncello together with tape or electronic accompaniment are not included in this catalogue. These are subjects for further investigation and catalogue compilation. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted

"The strings of the soul” is a master thesis which explores questions about tradition, itsexpression in music and especially folk music. It illuminates some differences betweentraditional and folk music. It explores Russian and Swedish folk music traditions, comparingboth of the traditions and identifying differences and similarities.The instruments that are used in the project are the Russian balalaika and the Swedish keyedfiddle (nyckelharpa).To implement those ideas in the research and enable these encounters I got in contact withmusicians playing the keyed fiddle. Under the tutorial I got some knowledge in keyed fiddleplaying techniques, its character and uniqueness. I participated in several playing sessions andgot an opportunity to experience Swedish folk music.The aim of this project is to seek a better understanding both of my “native” tradition ofRussian music, as well as of Swedish folk music, by exploring Swedish folk music throughthe performance practices of the balalaika. Hereby I wish to better understand theperformance practice of the Russian balalaika tradition, by using the instrument inperformance of Swedish folk music.The project is guided by the following research questions:How can Swedish folk music best be adapted for the balalaika?In what ways can the traditional performance practice of the balalaika be challenged bymaking arrangements of music originally conceived for the keyed fiddle?Are there any balalaika playing techniques that have the ability to imitate the sound of thekeyed fiddle?What novel possibilities may the balalaika offer to folk music originally conceived for thekeyed fiddle?Are there any difficulties in playing Swedish folk music on the balalaika?As a result of encounter process five arrangements were written, performed and recorded.As the source I used Swedish folk pieces for the keyed fiddle. “Spelmansglädje” - ”Fiddler´sJoy” by Erik Sahlström; “Vi är komna uti flickors land”, trad.; ”Finn Pål´s polska” of PaulDanielsson; ”Järv i säcken”- “Säkkijärvi polka”, trad.; ”Slängpolska efter Byss Kalle”, trad.For me personally, this research has given me the possibility to express myself as a musician,an artist and a researcher. It shows where I´m right now and how all this is related to myexperience as an individual and as a musician.Keywords: tradition; tradition in music; folk music; encounters; playing techniques;knowledge; experience; arrangement.

La concertina portugaise est un accordéon diatonique principalement fabriqué en Italie de manière industrielle. Depuis le Revival dans l’Alto-Minho portugais, cet instrument est devenu incontournable dans toute l’interprétation de la culture locale. Daté des début des années 1990, le Revival a vu la culture régionale se développer en partie avec l’aide de la concertina qui a su s’adapter, évoluer et influencer le répertoire local. La question centrale de cette recherche est de comprendre comment un instrument aussi répandu que l’accordéon diatonique a pu s’imposer dans une culture locale et singulière comme celle de l’Alto-Minho. Ce travail de recherche déploie une étude minutieuse du processus organologique qui a permis à l’accordéon diatonique de devenir une concertina portugaise, ainsi que l’analyse du répertoire joué par ce dernier en incluant les modes de jeux, les notions d’esthétiques des genres, les caractéristiques propres aux interprétations, aux performances et à leurs lieux d’exécutions. Il apparaît que tout le processus d'accordage qui semble aujourd'hui stabilisé est unique dans sa conception et que toutes les modifications visuelles à travers des symboles fortement identitaires sont profondément enracinées dans l’image de l’instrument. La concertina est devenue au long des années un atout culturel majeur pour la région de l'Alto-Minho. Au début adaptable, aujourd'hui adaptée, elle est passée du statut d'instrument autrefois « pratique » à « caractéristique » aujourd'hui. / Since the Revival in the Portuguese Alto-Minho, Portuguese concertina became inescapable in any interpretation of the local culture. Dated from the early 1990s, the Revival period has seen the development of the local culture with the help of the concertina which was able to adapt, evolve and affect the local repertory. The central question of this research is to understand how such an usual instrument like the diatonic accordion was able to compose with a local and singular culture such as the one from Alto Minho. This research study adresses organological question of the careful process which allowed the diatonic accordion to become a Portuguese concertina. It examines and analyses the repertoire performed by the concertina including the questions of playing techniques, aesthetics, genres, the unique characteristics of interpretations, performances in relation to their conditions and places. It appears that all the tuning process, which seems stabilized today, as well as the unique design and all its visual changes through strong symbols of identity are deeply rooted in the instrument's image. The concertina has become over the years a major cultural asset for the region of Alto-Minho. At start adaptable, now adapted, it increased instrument status from “practical” to “characteristic” today.

Au croisement de la sinologie, de la philologie, de l’histoire, de la musicologie, de l’organologie et de la pratique instrumentale, cette recherche se donne pour objet d’approfondir notre connaissance de la facture et des techniques de jeu de la cithare chinoise qin sous la dynastie des Tang (618-907) en traduisant et analysant des sources peu exploitées de cette période, à savoir le traité Tang Chen Zhuo zhifa 唐陳拙指法 (Techniques de jeu [du qin] par Chen Zhuo des Tang) et 1468 poèmes évoquant cet instrument. En complément d’autres sources anciennes, l’étude du corpus des poèmes précise notamment l’origine des matériaux utilisés pour le qin, l’usage d’accessoires, l’identification de luthiers amateurs et professionnels, la constitution du répertoire, l’emploi et l’évolution des partitions.La traduction et édition critique du Tang Chen Zhuo zhifa sert de support à un travail d’inventaire et d’analyse typologique des gestes décrits dans ce traité. Les techniques de jeu de l’époque s’y révèlent dans leur étendue et leur diversité.Afin d’en faciliter leur compréhension, plusieurs doigtés font l’objet des reconstitutions filmées, conservées sur le DVD en annexe. Des analyses d’acoustique musicale effectuées sur une sélection de techniques se sont également avérées riches d’enseignements en révélant les fondements concrets et subtils sous-jacents au jeu du qin à l’époque des Tang. / At the intersection of sinology, philology, history, musicology, organology and instrument playing, this research aims at broadening our knowledge of how the qin Chinese zither was made and played throughout the Tang dynasty (618-907). The research draws on often overlooked or untapped sources of information from this period such as the Tang Chen Zhuo zhifa 唐陳拙指法 treatise (Qin Playing techniques by Chen Zhuo) and 1468 poems in which the instrument is referred to.Study of the body of poems and ancient texts sheds light on the origin of the materials used to make the instrument and how accessories were used, drawing a distinction between amateur and professional instrument makers and explaining how a repertoire is built and how sheet music was read and evolved over time.The translation and critical edition of Tang Chen Zhuo zhifa serve as a basis for an inventory and typological analysis of the techniques described in the treatise, which illustrates the wide range and different styles of playing. Some of the fingerings were filmed and recorded on a DVD included here in appendix. Analyses of the musical acoustics of a selection of techniques provide valuable insights into both the groundings and the subtlety of qin playing during the Tang period