Dissertation (M.Mus. (Performing Art))-University of Pretoria, 2006. / Summary in Afrikaans and English. Includes bibliographical references.

In 1890 an equation was derived for frost depth calculations from the frost penetration rate. It was called Stefan’s equation. This work will examine how well this equation simulates the true ground frost depth in three locations during the years 1983 to 2001. It will also examine if the equation is able to simulate the ground frost breaking. The feasibility of the equation depends on the location studied. For places in the north of Sweden it can be applied from the start of the ground freezing until the end of March, in the middle of Sweden the uncertainties are bigger for the entire season. The ground frost breaking procedure points at a linear relation between true values and values calculated with Stefan’s equation. Again, the fit is better further north in the country, where the ground frost season has a more distinct beginning and end. Further south, the ground frost is not so deep and an unfrozen ground layer is seldom noted and the fit becomes less good. / År 1890 härleddes en ekvation för tjäldjupsberäkningar ur tjälnedträngningshastigheten. Den benämndes Stefans ekvation. Detta arbete undersöker hur väl denna ekvation överensstämmer med uppmätta värden för tre stationer under åren 1983 till 2001. Det undersöks också om ekvationen även kan användas för upptiningsförloppet. Hur länge Stefans ekvation kan användas beror på var i landet platsen ligger, för vilken beräkningen utförs. För platser i norra Sverige kan ekvationen användas från tjälsäsongens början fram till slutet av mars månad. I mellersta Sverige är osäkerheten större under hela tjälsäsongen. Upptiningsförloppet hos tjälen visar på ett linjärt samband mellan uppmätta värden och från Stefans ekvation beräknade värden. Återigen är denna trend tydligare längre norrut i landet där tjälsäsongen har en markant början och slut. Längre söderut är tjälen betydligt grundare och ett upptinat jordlager hinner sällan noteras, varav trenden blir otydligare.

Thesis (M.Mus. (Music Science))-University of Pretoria, 2006. / Abstract in Afrikaans and English. Includes bibliographical references. Available on the Internet via the World Wide Web.

Dissertation (D.Mus.(Performance))--University of Pretoria, 2007. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (MMus (Performance)--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The work represented here is a transcription for two pianos of Vladimir’s Round Table, a relatively unknown, large-scale orchestral work by Stefans Grove. This particular transcription involved an intensive study of the orchestral score in order to best reproduce the work in the most effective way possible for two pianos, as well as to create a sound and convincing work for the two-piano repertoire. The process involved academic as well as pianistic substantiations regarding the inclusion or exclusion of various elements of the orchestral score. It is my hope that the final product is a good representation of a work supported by academic research but not so much as to exclude the possibility of freedom of performance. The ultimate aim of this transcription is to hopefully re-ignite interest in the work as well as to expose it to a wider audience and, in turn, encourage performance of the work in its original form. / AFRIKAANSE OPSOMMING: Die werk wat hiermee voorgelê word, is 'n transkripsie vir twee klaviere van Stefans Grové se minder-bekende orkeswerk, Wladimir se Tafelronde (die Afrikaanse titel wat op die titelblad van die manuskrip verskyn). Die transkripsie het 'n deeglike studie van die orkespartituur behels om sodoende die werk ten beste in die klavier-duo genre weer te gee, en om n oortuigende dog bruikbare werk vir hierdie tipe repertorium te skep. Ten einde die insluiting of weglating van bepaalde elemente van die orkespartituur teen mekaar op te weeg, is die proses deur sowel akademiese- en pianistiese oorwegings ingegee. Ek hoop dat die finale produk verteenwoordigend is van n transkripsie wat deur n akademiese ondersoek ondersteun is, terwyl dit ruimte laat vir praktiese oorwegings wat met die uitvoeringsmoontlikhede en -beperkinginge van die klavier-duo weergawe ter sprake kom. Die hoofdoel met die transkripsie is om hopenlik hernude belangstelling in Grove se orkeswerkte te wek; om dit aan 'n wyer publiek bekend te stel, en op sy beurt uitvoerings van die werk in sy oorspronklike gedaante aan te moedig.

In Afrikaans only Sowel Stefans Grové as N.P. van Wyk Louw is kontemporêre, Afrikaanssprekende kunstenaars wat binne ’n Westerse kultuur grootgeword het en in die Westerse kunstradisie opgelei is. N.P. van Wyk Louw se epiese gedig, Raka, het as inspirasie vir verskeie kunswerke gedien, waaronder skilderye van Alexis Preller en Cecil Skotnes. Twee vooraanstaande Suid- Afrikaanse komponiste is ook geïnspireer deur Van wyk Louw se werk: Graham Newcarter se ballet Raka het in 1967 verskyn en ’n gelyknamige simfoniese toondig in die vorm van ’n klavierkonsert verskyn in 1996 uit die pen van Stefans Grové. Terwyl verskeie ander komposisies van Stefans Grové as onderwerpe van uitgebreide navorsing gebruik is, is relatief min bekend oor die aard en samestelling van hierdie toondig en die raakpunte en verskille wat tussen die musiek en die oorspronklike gedig bestaan. Hierdie studie ondersoek die wyse waarop ’n erkende literêre werk deur ’n vooraanstaande Suid-Afrikaanse digter ’n nuwe gedaante aanneem binne die omvang en beperkings van ’n musikale vorm. Die studie fokus op hoe Stefans Grové verskillende musikale parameters soos ritme, melodie en struktuur in sy simfoniese toondig, gegrond op N.P. van Wyk Louw se epiese gedig Raka , aanwend. / Dissertation (MMus (Performing Art))--University of Pretoria, 2007. / Music / MMUs / unrestricted

Thesis (MMus (Music))--University of Stellenbosch, 2009. / This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods pertaining to all three works was added. In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his “new” African voice (1984-). The African voice, represented by a melody he overheard a black roadworker sing, ties the work together. The sonata consists of five movements, with the first and fourth movements, and the third and fifth movements linked through content. This work presents challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as pitch difficulty due to unusual intervals without tonal context. Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region). The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping being the main challenge. Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies. The concerto has, as is tradition, three movements. Although the work contains ample technical challenges, it is obvious that it was composed by a string player – both the extensive running passages and double stopping are quite possible to play once good fingerings have been found. In the discussion of these works, attempts at solving specific technical problems are made.

Lithium‐ion batteries are particularly suitable as energy storage solutions in high power applications, such as hybrid electric vehicles. It is generally considered that one of the processes that limit the power density for lithium‐ion batteries is the mass transport in the electrolyte. Yet, it is still difficult to find a set of properties that fully describe the mass transport for the most common electrolytes. In this work, characterization studies of the mass transport were undertaken for two technically important lithium‐ion battery electrolytes: (1) a liquid electrolyte which consist of LiPF6 dissolved in ethyl methyl carbonate (EMC) and ethylene carbonate (EC) and, (2) a gel electrolyte which consists of LiPF6 dissolved in ethylene carbonate, propylene carbonate (PC) and poly(vinylidenefluoride‐hexafluoropropylene) (P(VdFHFP)).The mass transport in the electrolytes was characterized by combining several experiments. The Maxwell‐Stefan equation was used as basis for the characterization. Models of the transport were formulated from the equation and the apparent transport properties were identified. The characterization methods were first analyzed mathematically in order to establish at which conditions the characterization experiments should be performed. The values of the apparent transport properties were then obtained by optimizing the models to the experimental responses. In order to give the characterization results a comprehensible interpretation and to allow benchmarking of electrolytes, the concept of a normalized potential gradient was introduced.The characterization results of the liquid electrolyte were used in a full cell model of a LiNi0.8Co0.15Al0.05O2 | LiPF6 EC:EMC (3:7) | MAG‐10 cell. The model was developed to analyze the mass transport during a hybrid pulse power characterization (HPPC) test. The analysis was made with a method where the polarization was split up into parts each associated with a process within the cell. The optimum composition in terms of mass transport was found to lie between 0.5 and 1.2 mol/dm3 LiPF6 for the liquid electrolyte and between 5 and 7 wt. % LiPF6 for the gel electrolyte. Less amount of polymer in the gel electrolyte gave a faster mass transport. It was also found that the mass transport in the liquid electrolyte contributed to a major part of the polarization during HPPC tests. / Litiumjonbatterier är speciellt lämpliga som ackumulatorer i högeffektsapplikationer som elhybridfordon. Det är idag allmänt accepterat att en av processerna som begränsar effekttätheten för litiumjonbatterier är masstransporten i elektrolyten. Trots detta är det fortfarande svårt att få tag på data som fullständigt beskriver masstransporten i de vanligaste elektrolyterna. I det här arbetet har masstransportkarakteriseringar gjorts för två tekniskt viktiga elektrolyter: (1) en vätskeelektrolyt som består av LiPF6 upplöst i etylenkarbonat (EC) och etylmetylkarbonat (EMC), och (2) en gel elektrolyt som består av LiPF6 upplöst i EC, propylenkarbonat (PC) och poly(vinylidene fluoride‐hexafluoro propylene) (P(VdFHFP)). Masstransporten i elektrolyterna karakteriserades genom att kombinera ett antal karakteriseringsexperiment. Maxwell‐Stefans ekvation användes som utgångspunkt i karakteriseringarna. Modeller av transporten formulerades från ekvationen och de effektiva transportegenskaperna identifierades. En matematisk analys gjordes först av karakteriseringstekniken, så att det kunde fastslås för vilka förhållanden experimenten skulle utföras. Värderna av transportegenskaperna erhölls genom att optimera modellerna till det experimentella beteendet. För att ge karakteriseringsresultaten en begriplig tolkning och för att kunna mäta prestandan av elektrolyter, infördes konceptet normaliserad potentialgradient. Resultatet från karakteriseringen av vätskeelektrolyten användes i en model av en LiNi0.8Co0.15Al0.05O2 | LiPF6 EC:EMC (3:7) | MAG‐10 cell. Modellen utvecklades för att analysera masstransporten i cellen under ett hybridpulstest (HPPC). Analysen gjordes med en metod där polarisationen delades upp i delar som var och en var kopplad till en process i batteriet. Den optimala sammansättningen med avseende på masstransporten låg i regionen 0.5–1.2 mol/dm3 LiPF6 för vätskeelektrolyten och 5‐7 vikt% LiPF6 för gelelektrolyten. Mindre mängd polymer i gelelektrolyten gav en snabbare masstransport. Det konstaterades också att masstransporten i vätskeelektrolyten bidrog med en av de största delarna till polarisationen i HPPC testen. / QC 20110128

Die hoofdoel van hierdie studie was om Dansrapsodie – ʼn Afrika-stad van Stefans Grové en Fanfare Festival Overture van Jeanne Zaidel-Rudolph ten opsigte van struktuur, melodie, ritme en instrumentasie te ontleed en sodoende vas te stel watter Afrika-etniese elemente gebruik word en hoe dit toegepas is. ʼn Vergelykende studie is gedoen om vas te stel of daar enige ooreenkomste of verskille tussen die twee werke is. Verskeie skripsies, verhandelings en proefskrifte oor werke van Grové en Zaidel- Rudolph is geraadpleeg. Die skrywer kon nie gepubliseerde weergawes van Dansrapsodie – ʼn Afrika-stad en Fanfare Festival Overture opspoor nie, daarom is die ontleding met behulp van afskrifte van die handgeskrewe manuskripte onderneem. Daar is gereeld na die CD-opnames van albei werke (op die Claremont GSE-etiket) geluister. Die verhandeling bestaan uit ses hoofstukke. In die eerste hoofstuk word die agtergrond en motivering vir die studie uiteengesit en Hoofstuk 2 bevat kort biografieë van Grové en Zaidel-Rudolph. Grové se Dansrapsodie – ʼn Afrika-stad word in Hoofstuk 3 ontleed en verskillende Afrika-etniese elemente word beskryf soos wat dit van toepassing op die analise is. Zaidel-Rudolph se Fanfare Festival Overture word in Hoofstuk 4 op dieselfde wyse as Dansrapsodie – ʼn Afrika-stad ontleed. Die laaste twee hoofstukke (Hoofstuk 5 en 6) bevat ʼn vergelyking tussen die aanwending van Afrika-etniese elemente in die twee komposisies, asook gevolgtrekkings en voorstelle vir verdere studie. Die belangrikste gevolgtrekkings is die volgende: <ul> <li> Afrika-etniese elemente word in albei werke op só ʼn manier aangewend dat die komposisie vir ʼn Westerse orkes toeganklik is.</li> <li> In albei werke se struktuur word die roep-en-antwoord-beginsel en herhalende melodieë wat tydens elke herhaling effens gewysig word (permutasie) aangewend. Die melodiese inhoud word deur die mineur terts (ʼn interval van die pentatoniese toonleer) en twyfelagtige tonaliteite oorheers. Ritmiese ostinaatpatrone, die 12/8-metrum en poliritmiek in die Afrika-deel van Zaidel-Rudolph se komposisie bewerkstellig onmiddellik Afrika-etniese assosiasies. Die bongo-tromme en marimba kom in albei komposisies as Afrika-instrumente voor.</li> <li>Grové en Zaidel-Rudolph benader die aanwending van Afrika-etniese elemente in Westerse musiek op verskillende maniere.</li></ul> ENGLISH : The main objective of this study was to analyse the structure, melody, rhythm and instrumentation of Stefans Grové’s Dansrapsodie – ʼn Afrika-stad and Jeanne Zaidel- Rudolph’s Fanfare Festival Overture in order to determine which African ethnic elements are used in the two compositions and how these elements are applied. A comparative study was done to determine what the similarities and differences are between the two works. Several mini-dissertations, dissertations and theses about works by Grové and Zaidel-Rudolph were consulted. The author could not find published versions of Dansrapsodie – ʼn Afrika-stad and Fanfare Festival Overture, therefore the analysis was done with copies of the hand-written manuscripts. The author frequently listened to CD recordings (Claremont GSE label) of both works. The dissertation consists of six chapters. In the first chapter the author explains the background and motivation for the study and Chapter 2 contains short biographies of Grové and Zaidel-Rudolph. Grové’s Dansrapsodie – ʼn Afrika-stad is analysed in Chapter 3 and the different African ethnic elements that apply to this work are described. Zaidel-Rudolph’s Fanfare Festival Overture is analysed in Chapter 4, in the same way as Grové’s Dansrapsodie – ʼn Afrika-stad. The last two chapters (Chapter 5 and 6) include a comparison between the application of African ethnic elements in the two compositions, as well as conclusions and suggestions of topics for future studies. The most important conclusions are the following: <ul> <li> African ethnic elements are applied in such a way that both compositions are accessible for Western (“art music”) orchestras.</li> <li> In both compositions’ structure the call-and-response principle and repeated melodies (that are modified during each repeat) are applied. Both works’melodic content is dominated by the interval of a minor 3rd (an interval from the pentatonic scale) and an ambiguous tonality. Rhythmic ostinatos, the 12/8 metre and polyrhythm in the African part of Zaidel-Rudolph’s Fanfare Festival Overture immediately bring about African ethnic associations. The bongos and marimba as African instruments can be found in both works.</li> <li> Grové and Zaidel-Rudolph approach the application of African ethnic elements in Western art music in different ways.</li></ul> Copyright / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

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