Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: As an instrument the recorder enjoys an active following in South African schools, in
tertiary institutions and in private tuition. In spite of this healthy interest, few teachers
and students are afforded significant exposure to essentially good recorder playing,
nor do they receive specialised tuition in the various aspects of this field of study.
The development - and popularity - of the recorder reached a high point during the
Baroque era. During this period the greatest repertoire for the instrument was
composed. It is to this music that the player is mostly exposed. The French Baroque
falls within the broader Baroque period and has provided a substantial repertoire that
is freely available and regularly performed, either as part of an examination
programme or as a self-study piece at eisteddfodau. It is clear, however, that among
South African recorder teachers and students, the background knowledge required
for a historically informed performance of pieces from this period is generally
insufficient. The reason for this could be a lack of exposure to this particular style: a
problem that cannot be overcome without a concerted effort on the part of the
teachers and students to redress it.
The purpose of this study is to stimulate an enthusiasm for French Baroque music
among teachers and students, and to provide them with a store of knowledge they
can then apply in a meaningful way in practice. It is far easier for the musician of the
21st century to look back objectively at the developments of the Baroque period and
to appreciate the prolific contributions of the musicians of the time. However, it is
important to remember that the numerous examples, expositions and definitions left
to us by the composers of the Baroque should be interpreted as guidelines, rather
than rigid rules. It is of crucial importance that these guidelines - ornamentation and
its conventions, articulation, variable rhythmic groupings, as well as a background
knowledge of the composers and the repertoire - be subjected to an in-depth study.
Subsequently, by cultivating an instinct for good taste and judgment, justice will be
done to the music of the French Baroque. / AFRIKAANSE OPSOMMING: Blokfluit, as instrument, geniet 'n aktiewe belangstelling in Suid-Afrikaanse skole,
tersiêre instansies asook in privaatonderrig. Ten spyte van hierdie belangstelling,
word min onderwysers en studente aan goeie blokfluitspel en gespesialiseerde
opleiding in die verskillende fasette rakende die vakgebied blootgestel.
Die blokfluit het tydens die Baroktydperk sy grootste ontwikkeling en gewildheid
beleef. Dit is tydens hierdie tydperk wat die meeste repertorium vir die instrument
gekomponeer is; derhalwe is dit die musiek waaraan die blokfluitspeler die meeste
blootgestel word. Die Franse Baroktydperk maak deel uit van hierdie tydgleuf en
heelwat repertorium is geredelik beskikbaar en word deur spelers aangebied, hetsy
as deel van 'n eksamenprogram of as 'n keuse vir byvoorbeeld 'n eisteddfod. Dit blyk
egter dat 'n gebrek aan agtergrondkennis om werke uit hierdie tydperk op 'n histories
ingeligte wyse uit te voer 'n probleem by Suid-Afrikaanse blokfluitonderwysers en -
spelers te wees. Die rede hiervoor kan 'n gebrek aan blootstelling wees. Die leemte
kan nie sonder meer oorbrug word as daar nie 'n doelbewuste poging deur die
onderwysers en studente daartoe aangewend word nie.
Hierdie studie se doel is om onderwysers en studente se entoesiasme aangaande
Franse Barokmusiek aan te wakker en kennis daaroor te laat inwin ten einde dit in die
praktyk sinvol te kan toepas. Die musikant van die een-en-twintigste eeu kan
makliker objektief terugkyk na die ontwikkelinge wat tydens die Baroktydperk
plaasgevind het as die musikant wat in die tyd geleef het. Die voorbeelde,
uiteensettings en omskrywinge wat komponiste van daardie tyd nagelaat het, moet
verkieslik as riglyne geïnterpreteer word, en nie as onbuigbare reëls nie. Dit is wel
van uiterste belang dat hierdie riglyne - die versieringskuns, ornamentele gebruike,
artikulasie, ongelykmatige ritmiese groeperings asook die agtergrondkennis rakende
komponiste en repertorium - deeglik bestudeer word.
Met die nodige kennis en blootstelling sal goeie oordeel by die uitvoer van die Franse
8arokmusiek sy beslag kry.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:sun/oai:scholar.sun.ac.za:10019.1/53293 |
| Date | 03 1900 |
| Creators | Maritz, Karin |
| Contributors | Smit, M., Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music . |
| Publisher | Stellenbosch : University of Stellenbosch |
| Source Sets | South African National ETD Portal |
| Language | af_ZA |
| Detected Language | English |
| Type | Thesis |
| Format | 138 leaves : music |
| Rights | University of Stellenbosch |
Page generated in 0.0028 seconds