OpenUCT :: Browsing by Author "Herbst, Anri"

Browsing by Author "Herbst, Anri"

Now showing 1 - 19 of 19

Open Access
Anthroposophy's etheric forces : exploring the relation between music and plant-growth
(2010) Spiegel, Paula; Herbst, Anri
In practices of non-modern, non-Western agriculture, music making has played various roles in crop growing. Contemporary modern experimentation and practice point to a modern Western interest in the possible links between music and plant-growth. This dissertation makes use of anthroposophical ideas about the natures of living growth and sound in order to develop an understanding of how and why music and plants might be linked. An understanding of anthroposophy’s etheric forces is found to be useful in exploring the rationale for the music-plant correlation. Eurythmy (which also stems from anthroposophy) and specifically the eurythmic work of Tanja Baumgartner contribute towards a practical understanding and possible implementation of the theories.
Open Access
Audition techniques of youth orchestras
(2008) Brand, Yvonne-Marié; Kierman, S A; Herbst, Anri
The aim of this study is to research and asess the audition techniques of youth orchestras globally. The researcher aims to provide more information regarding a very important tool in the education of young musicians from all walks of life. The researcher will make use of the opportunity to discuss important aspects regarding the audition procedures, which has to be examined closely in order to have well balanced youth orchestras. The researcher feels that it is imperative to also realise the important role that youth orchestras play in creating excellent professional orchestras. Furthermore, the researcher aims to create a model for audition procedures. The researcher will assess all information at her disposal in order to create a model that shee feels will ensure fair auditions. It must be emphasised that this is a proposed modrel only and it will not be implied that the model must be used in its entirety in order to create fair auditions. The researchers is fully aware of the fact that each orchestra has a unique set of circumstances which has to be taken into consideration when executing auditions.
Open Access
Educational content in the performing arts : tradition and Christianity in Kenya
(2004) Miya, Florence Ngale; Herbst, Anri
The performing arts (a combination of music, dance and dramatisation) in the church in Kenya have not received much scholarly attention. These performing arts as adopted by Christian dance groups in Kenya have not been fully accepted into Christian circles because of the indigenous and popular music influences that govern them. This study therefore sets out to determine the educational role that the performing arts in the church in Nairobi play as demonstrated by a Nairobi Christian dance group, the Maximum Miracle Melodies.
Open Access
An emergent model of the teaching of iingoma zamagqirha based on three case studies in the Western Cape, South Africa
(2006) Mnukwana, Ncebakazi Fezeka; Herbst, Anri
lingoma zamagqirha is a Xhosa musical art often taught at workshops to introduce learners to the indigenous knowledge systems of the amaXhosa of South Africa. It is also a musical art which is performed in both sacred and secular environments. As such iingoma zamagqirha could be suitable for classroom teaching in South African schools and the oral methods embedded in the teaching of indigenous knowledge systems could provide guidelines to teachers who are required by the South African government to incorporate indigenous musical practices in their everyday teaching. This study's two primary objectives are therefore objective (a) is to analyse the inherent teaching method displayed by three performing artists and teachers of emergent teaching method through the fieldwork study. The secondary objective is to nurture a debate on the conservation of indigenous knowledge system and worldview as the educational discourse still tends to focus on Western music as the dominant culture.
Open Access
Evoked emotional responses in the performance practices of selected Yorùbá dùndún ensembles
(2018) Durojaye,Cecilia; Herbst, Anri
The study aims to investigate and describe the communication of emotion through dùndún music of the Yorùbá ethnic group of Nigeria. The two-pronged focus is on (a) the strategies that dùndún performers employ to potentially arouse emotions in their listeners, and (b) the responses elicited in the listeners. The study is situated in the field of music psychology, while taking into consideration the socio-cultural background and belief systems of the Yorùbá. A mixed methodology combining primarily qualitative with an element of a quantitative approach (QUAL→quan) is adopted within a convergent design. Data from dùndún musicians and listeners were collected through observation, semi-structured interviews as well as a short questionnaire-based survey that consisted of open and closed-ended questions. Two field trips were undertaken to six towns: Igbó-Ọrà, Ìlọra, Ẹdẹ, Òṣogbo, Ìpetumodù and Òỵ ó ̣located within south-west Nigeria. Qualitative analysis consisting of thick description in addition to a grounded theory approach was used to generate themes from the data, and the findings were also derived from a small-scale quantitative component. Concepts and theories around emotions from relevant literature are combined with the findings of the study to explain emotional communication in dùndún music. Data collected were used to answer the research questions in particular and contribute to the broad body of knowledge of music perception and evoked responses to music. The study reveals in general that, for the most part, ‘successful' communication of emotion through dundun music occurred as the dùndún musician employs culture-specific as well as universal cues in arousing emotions. The listeners reacted accordingly, using the same cues as a result of the communication of shared cues in the Yorùbá sub-culture and the performer. Hence, communication of emotion in the world of dùndún consists of an interaction between the performer, the listener, the music and the culture, which also encompasses the context of performance. The findings of the study could be beneficial for further understanding of non-Western indigenous music from music cognitive perspectives.
Open Access
Extended flute techniques in three culturally different solo flute pieces
(2011) Petterson, Jill; Herbst, Anri
Extended playing techniques on the flute have long since captured the interest of flute players and composers alike. Whilst the physical development of instruments from different cultures took place independently of each other, it has been found that to some extent there have been lasting and mutual influences between different flute playing cultures, specifically (for the purposes of this dissertation) with regard to Western, Africa and Asian flutes and flute playing.
Open Access
The influence of romanticism on the evolution of the transcendental etudes of Franz Liszt
(2009) Low, Michael Meow Yin; Hofmeyr, Hendrik; Herbst, Anri
This thesis sets out to investigate the musical and Romantic ideas that may have influenced Liszt during the composition of the three versions of the 'Transcendental' Etudes in relation to the pianistic and musical evolution of the work. The musical and pianistic content of the juvenile etude pour le piano en douze exercices (1827) takes after the didactic exercises of Karl Czerny. The intermediate version, known as the Grandes &Atilde;tudes (1839), was conceived at the height of Liszt's performing career and develops the principal thematic ideas of its predecessor whilst incorporating the virtuoso piano technique developed by Liszt's contemporaries, Thalberg and Chopin, as well as the advanced chromaticism characteristics of the latter's music. Crucial to the realisation of the intermediate version with its almost superhuman technical demands is also the influence of Paganini. The final version entitled etudes d'execution trancendente (1852) features a facilitation of some of the technically most demanding passages, as well as the addition of programmatic titles to ten of the twelve etudes. The relationship between programmatic intention and changes to the musical content is not as direct a one as may be supposed, since the vast majority of the radical changes to the musical content did not occur with the (explicit) addition of programmatic/descriptive intention in 1852, but rather in the 1839 version. This poses the question of whether the intermediate version was already implicitly programmatic/descriptive in intention, or whether the titles of the 1852 version were mere 'afterthoughts', added to works that had been transformed for other reasons. The balance of evidence gathered by the author supports the former view.
Open Access
An investigation into the relevance of formal training in music education to jazz teaching in South Africa
(2004) Msimango, Linda Nombuso Pearl; Herbst, Anri
The primary objective of the study was to investigate the necessity of equipping professional jazz teachers with general music educational principles. A sample was drawn from the students and lecturers at three selected tertiary institutions. The secondary objective was to determine who is deemed competent to teach jazz at tertiary institutions: professional players, professional players with a teacher-training qualification in jazz, or both. Three of the tertiary institutions in South Africa that offer jazz as part of their curricula were chosen: the University of Cape Town, the University of Natal, Durban, and the Technikon Natal. A questionnaire survey and interviews were utilised as the means of collecting information about issues concerning jazz education. A quantitative research design was used to analyse the results obtained from the questionnaires. The results were tabulated in basic descriptive statistical form and the interviews were qualitatively analysed. In addition, five hypotheses were formulated and tested using chi-square tests. A number of the interviewees supported the idea of equipping professional jazz teachers with general music educational principles; however, there were those who felt that their experience in the field was sufficient to enable them to be competent jazz teachers. The results from both the student questionnaire and lecturer interviews indicated that a combination of both professional players and professional players with a teacher- training qualification are needed. It was recommended that further research on jazz education should be undertaken to account for issues relating to teacher training in music education in South Africa. A curriculum that suits students and professional players who are interested in becoming competent jazz educators should be developed.
Open Access
An investigation into the state of music education in the learning area arts and culture in primary schools of the Western Cape metropole
(2003) Rijsdijk, Anthea Susan Chawner; Herbst, Anri; De Wet, Jacques
This dissertation investigates the state of music in the learning area Arts and Culture in Curriculum 2005 in the Primary schools of the Western Cape Metropole. It attempts to identify the problems experienced by the general class teacher in the Foundation and Intermediate phases who are involved with the implementation of this learning area. It does so by exploring the history of music education in the Cape from 1652 to the present and reflects on some of the philosophies involved in music education from Western and African points of view. The main body of the study focuses on a questionnaire completed by general class teachers in the two applicable phases.
Open Access
Music as metaphor and mediator : creating an integrative paradigm for education
(2006) Muller, Linda; Herbst, Anri; Jaros, Gyorgy
The purpose of this thesis is to create an integrative paradigm for education based on music as metaphor and mediator. It proposes a meta-frame of inquiry to establish a meta-contextual perspective from within which a self-reflexive reframing process is expected to emerge. A system of ideas is presented, consisting of key concepts drawn mainly from the systems worldview and speculative musicology. From these, metaphoric maps are devised as a guide for mediating the proposed ideas in education contexts. It is an attempt to inspire metaphoric, aesthetic and intuitive modes of understanding and experiencing the world, along with the explanatory, which can affect a profound epistemological shift in the way we frame our inquiry.
Open Access
Music development and hearing impairment : a case study of Evelyn Glennie
(2003) Walters, Cyrill Agnes; Herbst, Anri
The purpose of this research is twofold: firstly, it examines the extrinsic and intrinsic factors that contributed to the successful career of the profoundly hearing impaired internationally acclaimed solo percussionist Evelyn Glennie. Secondly, this investigation aims to create an awareness amongst South African music educators about the musical potential of the hearing impaired. The qualitative research design included (a) structured and unstructured interviews with Evelyn Glennie, Lucinda Rutter, an educator of the hearing impaired, Ronel Davids, a social worker for the hearing impaired and official sign language interpreter in Parliament, Arman Kleinschmidt, who is the director of DEAFSA (Deaf Federation of South Africa), (b) a study of audiovisual material of Evelyn Glennie (concerts, recordings and a documentary of Evelyn Glennie) and (c) a study of relevant literature. The investigation consists of three main parts. In the first part an in-depth theoretical study is conducted on hearing and listening, exploring aspects such as the hearing anatomical system and its functions, failings of the system as well as musical hearing and cognitive-based musical listening. The second part deals with the case study on Evelyn Glennie and includes a structured electronic interview. The third part involves an examination of the socio-cultural aspect of hearing impairment with reference to the Cape Town hearing impaired community. Interviews were conducted with social workers and ducators working with the hearing impaired community.
Open Access
Musical learning, development and mediation: A case study of the Delta Langbroek Band in the Music van de Caab project in the Western Cape
(2017) Harper, Elizabeth; Herbst, Anri
Musical learning, development and mediation: A case study of the Delta Langbroek Band in the Music van de Caab project in the Western Cape The Solms Delta wine estate's Music van de Caab project in the Groot Drakenstein Valley in the Western Cape has attracted a fair amount of informal attention nationally and internationally. Yet the methods and models of musical transmission and learning used in their music education remain unexplored territory in research. Gaining insight into community-based musical learning processes holds much value in music education, which has largely been dominated by formally taught Western music traditions and perspectives. This study aims to examine and describe the musical learning and facilitation processes of the Delta Langbroek Band, a brass band in the Music van de Caab project at Solms Delta wine estate, with regards to the modes and approaches to musical transmission. A theoretical framework, informed primarily by sociocultural perspectives on learning, uses Barbara Rogoff's design of three planes of analysis and the Twelve Continuum Transmission Framework proposed by Huib Schippers to investigate the musical learning system presented by the Langbroek band. Attention is also paid to oral and aural-based philosophies and teaching methods found on the African continent with specific reference to South Africa. Following a constructivist approach, the research is qualitative in nature with data collection through interviews and rehearsal observations of the Langbroek band of the Music van de Caab project over a period of seven months. Qualitative analysis using thick description and grounded theory is used to generate emergent patterns and themes from the data. Finally, findings from the literature review and data analysis are used in combination to contribute to a new emerging theoretical framework. Analysis of the learning and facilitation processes in the Langbroek band reveals a participation-based learning system with a combination of both aural and notation-based modes of musical transmission. Key findings from this study indicate that sites of informal and community music making serve as viable avenues and legitimate sites for musical development and learning. While making substantial use of theory, this study is grounded in empirical findings and could prove valuable for examining and refining curriculum content, as well as approaches to music instruction in formal music education South Africa. With a progressive awareness of the diverse models of musical learning and teaching around the world, further research at different sites of musical learning is extremely valuable.
Open Access
Perspectives on straight-tone singing in Western Classical music
(2013) Blyth, Antoinette Elizabeth; Herbst, Anri
Straight-tone singing in Western Classical music is a highly controversial subject. The primary objective of this study was to determine whether singing with a straight-tone was considered healthy or not and whether it is encouraged or recommended in performances today for aesthetic reasons. A secondary objective was to determine how a straight-tone could be produced healthily, if at all. Select opinions of three professional teachers and three international performers about straight-tone singing were solicited. Qualitative interviews were used and their findings compared to those in literature. To put straight-tone singing into a context of vocal health, the vocal physiology and acoustics of a normal functioning voice are discussed. Since a straight-tone is referred to as a vocal fault, vocal health issues are also examined. The question of aesthetics includes reference to straight-tone singing in ensembles or choirs and Early Music and opinions of its use in these contexts is discussed. The nature of the study was qualitative because of the subjective opinions at the centre of the research. The findings of this study are inconclusive as to whether straight-tone singing should be employed or not. However, key findings in this study were that some sources are in favour of straight-tone usage for reasons of taste and some are strongly against it, mostly for reasons of health but also sometimes for aesthetic reasons. Those sources that advocate straight-tone usage also advise against its prolonged use because of vocal health concerns. This study is relevant for all singers, choral directors, teachers of singing and all professionals involved with voice usage, for whom it is essential to have clear definitions of the concepts of straight-tone singing and vibrato and their possible effects on the voice, before they advocate or reject either. It is recommended that further investigation be done into straight-tone singing with a broader sample group of interviewees including professional ensemble singers and voice science specialists.
Open Access
The piano music of Peter Klatzow : a stylistic analysis of selected works
(2001) Odendaal, Andries Albertus; May, James; Herbst, Anri
The piano music of Peter James Leonard Klatzow forms an integral part of his musical output. An analysis of these works may provide useful insight into the compositional style of this South African composer. Jan LaRue's theory of stylistic analysis formed the inspiration for the analytical approach of the thesis, and the main focus of this analysis is the 1994 composition, From the Poets. This work is analysed in terms of use of sound, harmony and melody in order to attempt an understanding of how these elements impact and contribute to the sense of structure. Other works that have been completed since 1980 are analysed in terms of the main motivic and harmonic material, with occasional reference to other musical parameters that are important for an understanding of the musical discourse.
Open Access
The prevalence of playing-related musculoskeletal disorders in selected Western classical music students at the South African College of Music, University of Cape Town
(2016) Thaele, Tatiana; Herbst, Anri
The study aimed to ascertain the prevalence of playing-related musculoskeletal disorders (PRMDs) among Western classical instrumentalists at the South African College of Music. Seventy-two undergraduate string, woodwind and keyboard instrumental students were approached during classes or individually and asked to complete a specially designed questionnaire. Data were sent to a statistician at the University of Cape Town Statistics Consulting Unit and the statistical package SPSS (Version 22) was used to analyse the data. Seventy-one (71) of the 72 questionnaires were returned. The average respondent was a 20-year-old, right-handed female who had been playing her instrument for 10.8 years; 88.8% of the respondents had experienced a PRMD at some point in their lives, 82.1% within the preceding 12 months and 46.3% had a PRMD at the time of the study. No correlation was found between the prevalence of a PRMD and age, gender, instrument type, number of years of playing the instrument, playing another instrument or the university programme, stream or year. A significant relationship was found between the instrument level and the current prevalence of PRMDs. The most commonly affected area was the shoulder followed by the back, neck, hand or wrist and fingers. The most commonly indicated duration was 1 week (35.3%), though many PRMDs had lasted for more than 2 years (19.6%); 46.3% of the PRMDs had a severity of 3/5 or higher, and 34.2% of PRMDs were both 3/5 or higher for severity and frequency. Only 3.7% of the responses indicated that a body awareness technique was being used regularly, while 37.4% of the answers indicated that the techniques had "never been heard of". Over half (51.7%) of respondents had consulted a health professional. Physiotherapists and Alexander teachers were the most frequently consulted professionals. Treatment strategies were non-invasive and mostly self-reliant and though most respondents felt that the treatment strategies had helped temporarily, there was little long-term satisfaction. This study concludes that the prevalence of PRMDs in students at the South African College of music is high and around half of the PRMDs affect the students' ability to play or perform their instrument at an optimum level. Actions can and need to be taken to reduce these values in future.
Open Access
The structures, playing techniques and teaching methods of four community brass bands in the Cape Peninsula
(2012) Eriksen, Kirstie; Herbst, Anri
The objectives of this study are to investigate the teaching methods embedded in the oral transmission of music knowledge, the musicians’ playing technique, the cultural and social benefits of music in the communities of the four bands, as well as to look at the advantages and disadvantages of aural and oral modes of transmission of knowledge in teaching.
Open Access
The perceptions and experiences of a selected group of classical guitar learners and teachers in the Cape Peninsula
(2022) Comninos, Alexander; Herbst, Anri
Despite the guitar's rich classical tradition, it is primarily viewed as a popular music instrument given its strong associations with popular culture and ubiquitous presence in many popular musics. As a result, classical guitar is often on the fringes of public knowledge and recognition. This study explores how secondary school learners perceive and understand classical guitar. Using a constructivist vision of learning, learners' experiences and perceptions were collected to inform teaching practices. Constructivism is a theory of knowledge that has been used extensively across disciplines to study learning and education. The foundational premise of constructivism is that learners use their prior knowledge and experiences to construct new knowledge. Therefore, collecting and understanding learners' knowledge and experiences is a crucial, preliminary step in facilitating learning and may help teachers better understand their students and help plan teaching strategies that are personal and relevant. Given the constructivist paradigm of this study, the research is primarily qualitative. Questionnaire-based surveys were given to learners and teachers. Learners also participated in a focus-group interview. Using grounded theory, data were analysed, coded, and sorted into emerging themes. The findings showed that most learners were unfamiliar with classical guitar and its repertoire prior to starting lessons. Learners' expectations were primarily based on the guitar's use in popular musics. Learners also reported that the public often equates classical guitar with popular guitar playing styles. In response to peer and/or public perception, learners frequently distinguish classical guitar from popular musics. Using a constructivist lens to analyse the findings, this study has shown that many learners lack the foundational knowledge of classical guitar repertoire. The findings showed that introducing and discussing repertoire with learners may make learning more purposeful. Additionally, this study suggests that learners' musical experiences and preferences should be integrated into the learning process to make learning more relevant. Following the constructivist principles of ‘autonomy' and learner agency, classical guitar learners should also be encouraged to make music-learning part of their everyday lives and not merely classroom activities.
Open Access
Ubwinga, a subset of Bemba indigenous knowledge systems : a comparative study of pre-colonial and post-independence wedding ceremonies in Lusaka and Kitwe, Zambia
(2009) Lumbwe, Kapambwe; Herbst, Anri
This study has, by way of ethnographic investigation, compared the Bemba ubwinga ceremonies performed in Lusaka and the Copperbelt during the pre-colonial era and the white wedding ceremonies performed during the post-independence era. It has further investigated the nature and existence of Bemba IKS. This study employed qualitative research methods involving extensive fieldwork in Lusaka and the Copperbelt. Apart from audio-visual recordings and analysing 25 marriage ceremonies, individual and focus group interviews were conducted with participants of wedding ceremonies and a sample of research participants from various age groups. Participant observation was used to collect data, while the interviews served as a means to clarify information about ubwinga ceremonies.
Open Access
Utushimi : an emergent approach to musical arts education based on the inshimi practice of Bemba storytelling
(2009) Ng'andu, Joseph; Herbst, Anri; Mwansa, Dickson
This study investigates inshimi - a musical storytelling practice of the Bemba people in Zambia. The objectives of this study are to collect inshimi and study their educational underpinnings as a teaching medium; study published materials on philosophical approaches to music education; derive an emergent model for musical arts education. The data for this study were collected from the abaBemba nkonko (original Bemba people) of Mungwi and Kasama districts in the Lubemba region.

Browsing by Author "Herbst, Anri"

Results Per Page

Sort Options