Browsing by Author "Smith, Barry"

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    Aspects of style, form and harmony in the sacred music of Heinrich Schutz, with specific reference to his Psalms of David and Geistliche Chormusik
    (1995) Lambert, Peter Bernard; Smith, Barry
    In this dissertation, the sacred music of Schutz is discussed within the context of his contribution as a church composer during the period when music was experiencing the gradual transition from the renaissance to the baroque. Schutz assimilated the principles of composition which characterised the late renaissance and applied them in a manner which at the same time reflected his own progressive approach to these established principles. This progressive nature enabled him to introduce the Italian style recitativo in Germany for the first time, and it made him receptive to the use of the monodic style, which he also absorbed in Italy. He assumed an important role as a Protestant composer and considered it of fundamental importance to expound the meaning, and thereby realize the aims, of the sacred text when set to music. His Lutheran background influenced his choice of text sources as well as his extensive use of the vernacular for his sacred music. Examples from his Psalms of David as well as the Geistliche Chom1usik, are used to illustrate aspects of his contribution to music in Germany, and to music in general.
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    'n Studie van Franz Liszt se Prelude en Fuga op B-A-C-H vir orrel met spesifieke verwysing na die verskillende uitgawes van die werk
    (1998) Nell, Mario Daniel; Smith, Barry
    In hierdie tesis word een van Liszt se belangrikste orrelwerke, die Prelude en Fuga op B-A-C-H, ondersoek en ontleed as voorbeeld van sy orrelstyl en om sy bydrae as orrelkomponis te bepaal. Daar word eerstens na Liszt as orrelkomponis gekyk en 'n opsomrning van sy bydrae tot die orrelrepetorium word verskaf Hiema word sy orrelstyl ondersoek en word gekyk na die verskillende orrels wat moontlik 'n invloed hierop kon he. In hoofstuk 3 word die Prelude en Fuga op B-A-C-H ontleed as manifestasie van Liszt se musiekstyl in die algemeen, terwyl Hoofstuk 4 die verwerking van hierdie werk vir klavier ondersoek om te sien watter aanpassings die komponis moes maak. Hoewel hierdie werk van Liszt reeds deur talle uitgewers uitgegee is, is die verskillende uitgawes uiteenlopend en heel dikwels teenstrydig as dit kom by aanduidings in die partituur. Di~ uitgawes wat in hierdie tesis bespreek en vergelyk word, is die wat vrylik in die mark beskikbaar is en dus algemeen deur uitvoerders gebruik word, naarnlik die uitgawes Dover, Musica Budapest, Neue Musik ag Winterthur, Nuwe Liszt, Novello, Peters en Universal. 'n Vergelyking van die verskillende uitgawes geskied aan die hand van tempi-, toonsterkte-, karakter-, partituur-, artikulasie- en manuaalaanduidings. Aandag word ook gegee aan die tonale kleuring, dit wil se die registrasie van die komposisie, asook Liszt se verwerking daarvan vir die klavier en hoe hy die styl van die werk daarvoor moes aanpas. In Hoofstuk 5 word daar gekyk na die verskillende uitgawes van Liszt se orrelwerke en weer spesifiek na die Prelude en Fuga op B-A-C-H verwys. Aangesien sommige uitgawes uiteenlopend is, is gepoog om die belangrikste bronne van elke uitgawe vas te stel en ook 'n vergelyking te tref tussen hierdie uitgawes wat tempi-, toonsterkte-, karakter-, partituur-, artikulasie- en manuaalaanduidings betref Die notetekste van die verskillende uitgawes van die Prelude en Fuga op B-A-C-H word in die bylae verskaf. In this thesis one of Liszt's most important organ works, the Prelude and Fugue on B-A-C-H, has been examined and analysed in order to determine his organ style and evaluate his contribution as a composer for the organ. " Initially the thesis looks at Liszt as an organ composer and a summary is provided of his contribution to the organ repertoire. This is followed by an analysis of his style, taking into account the different organs which could possibly have had an influence on his work for this instrument. In Chapter 3 the Prelude and Fugue on B-A-C-H is analysed as a manifestation of his " musical style in general, while Chapter 4 attempts to explore the adaption for piano in order to determine what changes the composer had to make. Although this work of Liszt's has already been published by a myriad of publishers, the editions differ considerably and often contain contrary indications in the score. The editions that are discussed and compared in this thesis are those which are freely available on the market and are therefore often used by performers, viz the Dover, Musica Budapest, Neue Musik ag Winterthur, New Liszt, Novello, Peters and Universal editions. These editions are compared in terms of their tempi, tonal strength, character, score and articulation and manual indications. Attention is also paid to the tonal colour, ie the registration of the composition, as well as Liszt's adaption for the piano and how it had to be changed for the latter. In Chapter 5 the different editions of Liszt's organ works are compared, with specific reference to the Prelude and Fugue on B-A-C-H. Since some of the editions differ considerably an attempt has been made to determine the most important sources of each edition and to draw a comparison between these editions in terms of tempi, tonal strength, character, score and articulation and manual indications. The scores of the different editions of the Prelude and Fuge on B-A-C-H are included in the schedules.
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    Peculiarities and anomalies of intonation with special reference to the construction and evolution of woodwind instruments
    (2001) Matei, Corvin; Smith, Barry
    The author has been playing principal flute for almost twenty years, in the ""G Enescu"" Bucharest Philharmonic Orchestra, the Cape Town Symphony Orchestra and the Cape Philharmonic and was fortunate to hear live some of the leading world orchestras, among them the Berlin Philharmonic, Vienna Philharmonic, Gewandhaus, London Philharmonic, London Symphony, Orchestre Nationale de France, New York Philharmonic, Chicago Symphony and the Boston Symphony. All these great orchestras experienced intonation problems, mainly in the woodwind section, and I have started to study this phenomenon, which has followed me through my entire life.
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    A stylistic study of the anthems of Herbert Howells together with a catalogue of the anthems and evening canticles
    (1994) Mitchell, Mark Lanyon; Smith, Barry
    This dissertation is divided into two sections. Section One: The biographical chapter gives a basic overview of Howells' life. Particular attention has been paid to teaching and church appointments, as the connection with the church was the main influence on his creative processes. This and other (direct or indirect) influences on Howells' creative process are discussed in the chapter following the Biography. The chapter on style focuses on Howells' technique of composition. As Howells acknowledged that Tudor music was a fundamental influence on his writing, aspects of his style that might have been particularly influenced are discussed. Very little analytical study of Howells' anthems has been undertaken to date. For the purpose of this dissertation, all the anthems have been studied and analysed in detail, but only a selection of works representative of his style have been used for the purpose of musical exemplification. Section Two: This section of the dissertation is a catalogue of the anthems and evening canticles. While researching in England, the author of this dissertation came across many manuscripts of sketches and incomplete anthems and evening canticles, but could find no published reference to these or catalogue including them. The author of this dissertation feel that it is important that these works be catalogued for reference purposes, which may prove to be of use in subsequent analytical studies of Howells' oeuvre.
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    A stylistic study of the anthems of Herbert Howells together with a catalogue of the anthems and evening canticles
    (1994) Mitchell, Mark Lanyon; Smith, Barry
    The biographical chapter gives a basic overview of Howells' life. Particular attention has been paid to teaching and church appointments, as the connection with the church was the main influence on his creative processes. This and other (direct or indirect) influences on Howells' creative process are discussed in the chapter following the Biography. The chapter on style focuses on Howells' technique of composition. As Howells acknowledged that Tudor music was a fundamental influence on his writing, aspects of his style that might have been particularly influenced are discussed. Very little analytical study of Howells' anthems has been undertaken to date. For the purpose of this dissertation, all the anthems have been studied and analysed in detail, but only a selection of works representative of his style have been used for the purpose of musical exemplification.
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    The 'Mandala' philosophy of music for South African schools
    (1998) Carolus, Mario Cornelius; van Tonder, James; Smith, Barry
    This thesis critically addresses the aesthetic versus the praxial philosophies of music culminating in the philosophical roots of the 'Mandala' approach to music. The 'Mandala' philosophy of music is based on Carl Jung's psychoanalytic theory as well as David Elliott's 'praxial' philosophy of music. The 'Mandala' philosophy of music rests upon two main tenets namely; that music is to be approached and taught holistically and that the significance and justification of music reside in creative thinking or creativity. A holistic approach to music is a humanistic view of education and which differs from the subject-based approach of the past. The emphasis of this approach is on what music practitioners can do i.e. their musical products, in the context of particular musical practices. Music is not esoteric aesthetic emotion producing qualities, but rather something that musicians practice within particular musical cultures and styles. The 'self as centre of the whole of the person serves as catalyst for creative products, self-growth and enjoyment in music. Creative thinking is, inter alia, tantamount to self-actualization, problem-focused learning, transformation and the higher form of integration through music education. Through descriptive illustrations, analyses, comparisons and syntheses key concepts of this approach are highlighted to support cogent arguments. This approach differs markedly from the present fragmented, one-dimensional music education approach in South African schools and which still lay stress on the sublime idealism of the aesthetic philosophy of music. The 'Mandala' approach substitutes aesthetic idealism with artistic pragmatism in the context of music practices and practitioners. The 'Mandala' approach to music emphasizes creative thinking, i.e. creative-action-learning and critical or reflective thinking, as fundamental to music making, to constitute the M.C.T.-model of music. This approach further juxtaposes creative thinking (creativity) and self-actualization as products or outcomes of both the conscious and unconscious creative thinking of humans. The tripartite interactions between the creative person, process and product, constitute the integrated condition of knowing. Knowing in music differs from knowing about music. In essence the 'Mandala' approach advocates that music, as product of the 'self, be placed at the core of the school curriculum. From this centre, self-knowledge, self-growth and enjoyment should blossom forth. The aim is not to create knowledgable musicians, but rather knowing music practitioners 'in situ', i.e. performers, composers and musician-analysers. Knowing in music focuses on the creative intentions or tangible products, i.e.performing, improvisation/composition and analysis. Creative products in class could be achieved through creative-action-learning in the context of a proposed intercultural South African Music Model and music curriculum in practice. Practical creative-action-learning music lessons are proposed as guidelines for music practitioners and to stimulate further experimentation. In conclusion, this approach to music is compatible with outcomes-based education proposed recently by the National Qualifications Framework.