Browsing by Author "Smith, Barry"

Now showing 1 - 5 of 5
  • Thumbnail Image
    Item
    Open Access
    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.
  • Thumbnail Image
    Item
    Open Access
    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.
  • Thumbnail Image
    Item
    Open Access
    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.
  • Thumbnail Image
    Item
    Open Access
    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.
  • Thumbnail Image
    Item
    Open Access
    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.