Browsing by Department "College of Music"
Now showing 1 - 20 of 170
Results Per Page
Sort Options
- ItemOpen Access4 Charakterstücke, Op. 3 for clarinet and piano(2013) Verhey, Th. H. HUCT has typeset the clarinet part, since IMSLP has only the piano part and the viola part. However, the title lists clarinet first, i.e. "for clarinet or viola", so it seems clarinet was the primary choice. The piano part is available on IMSLP. Romantic literature in the same vein as Schumann's and Gade's Fantasiestucke, and perhaps in between the two in terms of difficulty, i.e. easier than Schumann (particularly his second and third movements), but more difficult than Gade's.
- ItemOpen AccessA chronicle of cultural transformation: ethnography of Badagry Ogu musical practices(2020) Kunnuji, Joseph; Bruinders, SylviaThis thesis examines the musical practices of Badagry Ogu people from both historical and contemporary perspectives and provides strategies for their further integration into the changing social and economic landscape characteristic of 21st-century Lagos. Badagry emerged as a Nigerian town bordering the Republic of Benin in the 19th-century colonial delineation processes, which neglected ethnic frontiers. Consequently, Badagry Ogu people, being a minority ethnic group and geographically peripheral in Nigeria, have been politically, economically and socially marginalized for generations. Using ethnographic methods in studying selected indigenous musical bands (Gogoke, Gigoyoyo, Kristitin and Akran Ajogan), a biographical sketch of master drummer Hunpe Hunga, and an applied ethnomusicology method of collaborative music composition and arrangement, I chronicle the musical heritage of Badagry Ogu people. In addition, I suggest an approach for its recontextualisation into different creative economies. I engage Thomas Turino's framework for identity and social analysis, including the concepts of cultural cohorts and cultural formations, in exploring the different attitudes, among Badagry Ogu people, towards indigenous music. I advocate for and outline a contemporary approach for musical recontextualisation as a means of inclusivity and economically empowering performers of indigenous Ogu music in Badagry. This thesis includes my additional arrangements to the studio recordings of Gogoke. The recontextualisation process, which commenced with Gogoke's recording of indigenous instruments and vocals in Badagry Lagos Nigeria, reached its full fruition in the overdubs of Western musical instruments in Cape Town, South Africa. To further explore the theme of inclusivity, I examine current gender practices in Ogu communities evident in the gendered musical practices of contemporary Badagry. With its indepth analysis of Ogu genres, musical instruments, gender issues and a framework for recontextualising African indigenous musics, this thesis, while filling the gap in the study of ethnic minorities in Nigeria, is a significant contribution of the nuanced artistic practices of Badagry Ogu people to African music scholarship.
- ItemOpen AccessA comparative style-critical analysis of representative piano works by Alberto Ginastera with specific reference to his application of the Malambo dance rhythm(2023) Preller, Ivan; Watt, MartinThere is currently insufficient academic literature on the South American composer Alberto Ginastera and his compositional mastery. Ginastera's music is meticulously put together to create some of the most original examples of South American music in the twentieth century. He incorporated numerous Argentinian rhythmic and melodic elements into his music. The assimilation of the malambo dance rhythm, a fast-paced and heavily syncopated rhythmic device, within his music features throughout his vast oeuvre. This dissertation analyses and compares a selection of piano works written by Alberto Ginastera. The selected works are representative of the assimilation of the malambo dance rhythm within a selection of piano compositions. These piano works represent Ginastera's compositional output from one his first published works to his last published work, allowing for a thorough investigation into the composer's development over an extensive timespan. This study seeksto understand how Ginastera's assimilation of the malambo dance rhythm developed from his objective nationalistic works to his subjective nationalistic works, and finally to his neo-expressionist works. It takes an integrative approach to investigate how the musical parameters surrounding the utilisation of the malambo dance rhythm are applied, in order to gain a comprehensive understanding of the composer's compositional style. The conclusion of the study shows how the musical parameters surrounding the malambo dance rhythm occurrences develop organically, with different techniques being applied interchangeably in an increasingly sophisticated manner. Due to the limited academic sources on Alberto Ginastera, additional research is needed to further comprehend and appreciate the works of the composer and his influence on classical music in the twentieth century.
- ItemOpen AccessA reappraisal of tempo, character and their relationship [Multimedia Kit] : their particular respect to the music of Beethoven and Schumann(1979) Young, Stewart; Brimer, Michael; Brown, A C
- ItemOpen AccessA study of a late thirteenth-century composite Office book (Cape Town, National Library of South Africa,MS Grey 4b5) with reference to selected manuscript sources from the diocese of Münster in Westphalia(2019) Werth, Keri Mariken; Bezuidenhout, MorneMS Grey 4b5 (Cape Town, National Library of South Africa, Grey Collection, ms. 4.b.5) is a composite Office book comprised of a noted breviary and an antiphoner. It is dated in the late 13th to early 14th century and is from the city of Münster, Westphalia. The notation of the melodies makes use of Hufnagelschrift and the texts show various stages of Textualis Gothica throughout the entirety of the book. This manuscript gives an indication of liturgical practices in the city of Münster prior to the Anabaptist takeover between 1533 and 1535. This investigation has confirmed a number of facts. Analysis of the text indicates that the breviary section is from the late 14th century as the scribe made use of the fully developed letter forms of Textualis Gothica script. The antiphoner section shows evidence of earlier stages of Textualis Gothica in its many hands, thus placing it in the late 13th century. The textual and notational hands overlap in such a way as to indicate that the antiphoner was written in the same location. Studies on the feast of Corpus Christi in Grey 4b5 with references to sources in Vincent Corrigan’s edition and other sources from Münster reveal that Grey 4b5 contains an early version of the standardised Office, as well as a wholly unique responsory and verse in Vespers. In the same vein, expansion of Morné Bezuidenhout’s initial investigation of the feast of Saint Liudger in Grey 4b5 confirms the manuscript’s provenance to be from the city of Münster. Musical editions of Corpus Christi and Saint Liudger are included in this investigation. Studies on late style characteristics of the music in the Office of Corpus Christi, with reference to research by David Hiley and Roman Hankeln, indicate that while Grey 4b5 contains an early version of the standardised Office of Corpus Christi, it shows slightly more radical features than other sources in this edition. Comparative studies of late style characteristics in the Office of Corpus Christi with Saint Liudger show that, despite its radical style, the musical items for Corpus Christi seemed to have been composed more conservatively than those for Saint Liudger. Additional analyses on contrafacta - with reference to László Dobszay and Janka Szendrei - and on the great responsories of Corpus Christi - with reference to Kate Helsen’s study - also support this evidence. Investigations on the musical content of Grey 4b5 reveal some items that are completely unique to the manuscript. There are also items in Grey 4b5 that correspond solely with sources in the diocese of Münster. A provisional index of the musical content of the Grey manuscript is provided at the end of this dissertation, the complete version of which will soon be available on the CANTUS database.
- ItemOpen AccessAbstract geometry in the motets of Dunstable and Dufay. Volume 1 and 2(1983) Rommelaere, Paul Frederick MarieThis dissertation has been inspired by architectural studies showing the extent to which the medieval architect was steeped in geometrical and mathematical thinking. Researchers such as Lesser, von Simson and Wittkower have shown that, from its overall proportion to its most intimate detail of ornamentation, the Gothic cathedral is derived from the sacred lore of numbers and its concommitent geometric procedures, notably quadrature and triangulation. With a single basic dimension, the Gothic architect developed all the measurements of his ground plan and elevation by geometrical means, using the square and the triangle as his module. Dimensions are related, for example, by squares of which the area diminishes or increases in geometric proportion:
- ItemOpen AccessAfrican music and its use in the school: an investigation(1981) Petersen, Alvin Benito; Rink, MThe purpose of this dissertation is to investigate the educational possibilities of African music in all schools. To the best of the author's knowledge, African music is almost completely ignored in most non-African schools in South Africa, and where it is taught, the essential elements which make the music "African" are almost completely ignored. It seems deplorable that such a rich musical resource has hardly been tapped in the non-African school. This state of affairs comes about because of negative attitudes towards things African in general and towards the African in particular. In his research in the Western Cape, the author has found that Africans no longer play traditional musical instruments such as the bow and that there is an increasing tendency to move away from traditional musical instruments in favour of Western ones. It is hoped therefore that this dissertation will lead to an appreciation of African music at all schools and that it will somehow contribute towards the revival of bow-playing in urban African communities, because a large part of this dissertation is devoted towards bow-playing and its possible uses in the school. This dissertation is in two parts: the first is a broad systematic introduction to African music, with special reference to African music in South Africa. In this section musical aspects such as form, harmony and rhythm are discussed separately. The influence of speech on song and categories of Nguni song are also included in this section. There are also detailed descriptions of some of the instrumental types in Africa and their uses in society. It should be stressed that the. terminology used in both parts, for example, 'cross-rhythm', is not necessarily the terminology used by the Africans, but is used here to facilitate understanding by all.
- ItemOpen AccessAlban Berg's Lulu(1986) Naude Janet Joan; May, JamesThis study is an analysis of the opera, Lulu, by Alban Berg, Concentrating on pitch organisation in relation to its dramatic context. An introduction cutlines Iulu' s conception, posthomous, history, libretto and Dramatic Persona. The first chapter represents an exposition of the opera's basic material. It includes a description of Berg's early and later row-derivations, and analysis of the Prologue, Schon's Sonata, alwa's Recitative-review and the Chorale, from Act I. The second chapter consists of a selection of numbers, demonstrating development towards the musical and dramatic climax of the work. This is exemplified by Geschwitz's Recitative, Schon's Arietta, 'Turrnltuoso, the exposition of Alwa's Rondo, Schon's Aria, Lulu's Lied, Schon's death and the Film Music, from Act II/1. The third chapter illustrates recapitulation of the opera's first half, by rreans of the Rondo's completion and Alwa 's Hymn, Lei tsektionen and role doubling, and Variations on Wedekind's lute rrelcdy, from Acts II/2 and III. Each chapter contains synopses of dramatic events 1n relation to the opera's formal design, to describe the context in which the analysed excerpts appear.
- ItemOpen AccessAn exploration of the gender and sexual dynamics for women performers in the Cape Town jazz community(2020) George, Aimée; Tiffin, Amanda; Bennett, JaneThis research explores the dynamics of gender, sexuality and power for women performers within the jazz community in Cape Town. Although the history and development of South African jazz has been extensively researched, very few texts mention the presence and impact of women performers and has yet to include how questions of gender, power and sexuality influence both the cultures of jazz and the experiences of women jazz artists. The current study is strongly influenced by feminist theory, which seeks to uncover experiences obscured by patriarchal epistemologies. A qualitative methodology is used to ensure each narrative remains at the forefront of the research. Interviews were conducted with jazz women musicians involved in various roles within the jazz industry in Cape Town. These semi-structured interviews allow for these women to narrate their turbulent musical journeys. What is revealed and subsequently further explored are the rich identity politics involved in being women “performers”, what is assumed and expected of them, the role “boys clubs” play in their exclusion, and the pressures and implications of stringent gender stereotypes, beauty ideals and vicious hyper-sexualization. Moreover, I explore the analytics of power within this specific culture and its' effect on jazz women. Their accounts reveal how the Cape Town jazz community remains saturated with gender stereotypes and is seemingly committed to continuing violent displays of misogyny. The study argues that despite the prevalence of this misogyny, women jazz artists actively design strategies which skilfully and innovatively allow them to pursue influential careers, deepening the meaning of “jazz” in Cape Town and beyond. The research thus both extends the analysis of feminist jazz theorists in Cape Town, and suggests that understanding the contemporary dynamics of gender and sexuality in South African jazz artists' experience deserves more research.
- ItemOpen AccessAn investigation into the influence of the "Cape Malay" child's cultural heritage upon his taste in appreciating music, with a proposed adaptation of the music curricula in South African schools to reflect a possible application of "Cape Malay" music therein(1983) Desai, Desmond; Rink, MillicentThis investigation of a repertory of music, grew out of a need to find a link between the societal structures created, and the activity of a group of people for whom they are intended. Music is a universal phenomenon but has definite cultural boundaries. Ever since the author became a student at the University of Cape Town, he came under the deep impression of differing cultural activities. This dissertation is a result of cultural differences observed by him from childhood, concerning a group of people, who are termed 'Cape Malay', for the lack of a more appropriate term. 'Cape Ma lay' music, which refers to the who le repertory of moppies, ghommaliedjies, nederlandsliedere, ouliedere, £udjies and djiekers of the 'Cape Malay', was observed by him as a way of life of many South Africans. This is not always realised, and it is the hope of the author that educational authorities would try to recognise not only this 'Malay' musica l culture, but also make provision for its inclusion in the syllabus. The basic philosophy which the author has tried to convey, is that education should link up with the pupil's social environment. Allied with this, is an attempt by the author to develop and awareness of 'Malay' music amongst those South Africans who might not be aware of this repertory of music, which is unique in the world. The reading material is extensive, as may be ascerta ined from the lengthy bibliography at the end of this dissertation. Unfortunately, it is not nearly complete. Two very important sources are regrettably not included: A pre liminary thesis by Erica Mugglestone completed for a master's degree at Monash Un iversity in Australia, relating to the topic of this dissertation; and van Warmelo's work, which relates to 'Cape Malay ' music, and from
- ItemOpen AccessAnalysis of Summa by Arvo Pärt(2011) Patrick, David; Watt, Martin; Sandmeier, RebekkaThis study presents a musical analysis using a process of pitch mapping. Pitch rows are presented graphically to demonstrate the visual design of the music. Description of the process is preceded by a discussion of some of the historical, and philosophical factors that are relevant to the development of Pärt’s tintinnabuli music. The musical and political history of Estonia and some of its other composers are presented as an important resource for understanding Pärt’s music. The use of proportions and formulas in the music is presented as being connected to a long line of similar practice in the fields of music, mathematics, physics and astronomy that has been used in the pursuit of an understanding of the Universe. Although informed by an extensive depth of spirituality, research and construction, the music remains an intensely personal expression of the composer. In this combination of structure and intuition it is able to resonate with people across many different cultures, and across many visible and invisible boundaries. Through the establishment of tonal stability in tintinnabuli music, extra-musical codes and symbols can be placed within its structure. This is achieved through a compositional process that includes both highly organized proportional formulas and creative intuition. The process of pitch mapping as a method of musical analysis demonstrates how this can be done. Pitch mapping is presented as a creative process of musical analysis. Visual images and animated visual images are used to add to an understanding of the music.
- ItemOpen AccessAn analysis of the musical style of Miriam Makeba(2009) Xaluva, Nomfundo; Lilley, AndrewThe motivation behind this study is to explore the musical style of the late Miriam Makeba. The intention is that it will add a valuable contribution to the study of South African musicians and those subsequent scholars, with a common interest, will use the work to further the analytical study of the musical style of South African jazz.
- ItemOpen AccessAn analytical study of selected chamber works(2001) Mtimkulu, Nosindiso W; Schoenberg, ArnoldThis study examines Schoenberg's compositional procedures in selected chamber works written between 1906, when Schoenberg started to move away from tonality, until 1936, when his twelve-tone technique had been firmly established.
- ItemOpen AccessAn annotated catalogue of selected works for clarinet by South African composers(2005) Webb, Clare Louise; Hofmeyr, HendrikThe dissertation consists of an annotated catalogue of nineteen selected works for clarinet by South African composers. These are presented in chronological order, based on the year of composition. A short biographyof the composer is given before the work is discussed. Of the analysed works, all those for solo clarinet or for clarinet and piano have been graded. A thesis of a similar nature, written in 1989 by L.A. Hartshorne, entitled ""The Compositions for Clarinet by South African Composers"", contains details of twenty-four works written between 1928 and circa 1981. The majority of the compositions analysed in the current dissertation were written from around 1981 onwards, and to some extent, therefore, this research could be seen as complementary to the information contained in the aforementioned thesis. An addendum lists all the South African works featuring solo clarinet that the author was able to trace. These include solo works, cham ber works for up to nineteen instruments and concerto-type works with strings or orchestra.
- ItemOpen AccessAn annotated catalogue of works for piano duet a supplement to Cameron McGraw's Piano duet repertoire(2011) Magalhaes, Luis Miguel de ArajoEach entry provides, apart from the title of the work and the composers name, dates and nationality, the following information (where applicable and/or available): composer's website, movements, approximate duration, the arranger's name, the original medium, publication details and/or other information on availability (location of manuscript or on-line source). Works that could be located are annotated with comments on the character of the work, and on musical and/or technical difficulties. In the case of arrangements, the annotations also include the effectiveness and suitability of the distribution of the musical material in terms of balance, register allocation, and the expansion and/or reduction of range and textural density; pedal markings and the transcription of interpretative, dynamic and articulation markings.
- ItemOpen AccessAnthroposophy's etheric forces : exploring the relation between music and plant-growth(2010) Spiegel, Paula; Herbst, AnriIn 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.
- ItemOpen AccessArticulation in brass playing : the tongue - friend or foe?(2004) Ayers, Angela Gillian; Kierman, Sean A; May, James; Hofmeyr, HendrikThis dissertation attempts to demonstrate the role the tongue plays in articulation in brass playing. It briefly examines oral anatomy, physiology and theories on motor learning, and describes the tongue's position in producing English speech sounds. It shows how these positions are used to teach different articulation techniques on the various brass instruments. Articulation styles and (tonguing) exercises, which could aid in the improvement of tongue articulation, are highlighted. It is hoped that these highlights will add insight for both present and future brass teachers.
- ItemOpen AccessAspects of George Philipp Telemann's Nouvelaux quatuors, in particular their possible influence on the conversations galantes of Louis-Gabriel Guillemain(2013) Oxtoby, Colleen Joy; Sandmeier, RebekkaThe two quartet-collections under consideration appeared within five years of each other, in the same city and, most significantly, for the same new combination of instruments. As the first was the work of an established and prolific composer, and the second, of a younger, lesser-known man with relatively limited output to his credit, I set out in this dissertation to examine the possibility that the one was modelled on the other. Was Guillemain influenced by the Nouveaux Quatuors of Telemann when he composed his Conversations galantes? Georg Philipp Telemann (1681–1767), a North German who typically absorbed foreign elements into his writing-style published what was probably the last of his chamber music in Paris in 1738, under the title Nouveaux Quatuors en Six Suites. They were called ‘new’ in relation to his earlier set, the Quadri, self-published in Hamburg in 1730. Because of their common scoring, and the assumption that the invitation to visit Paris was based on the strength and reception of the Quadri, the two sets were labelled collectively the ‘Paris Quartets’, by Walter Bergmann in the 1960s. The Frenchman, Louis-Gabriel Guillemain (1705–1770) trained as a violinist in Italy, then returned to France where he was later employed at court. In 1743 he too published quartets for the same instruments as had Telemann. These were the Six sonates en quatuors ou conversations galantes et amusantes which also appeared in two groups of six - op. 12 (1743) and op. 17 (1756). The latter was an arrangement of his op. 13 accompanied keyboard sonatas. The former was chosen for this dissertation, being closer in time to the Nouveaux Quatuors and being original rather than an arrangement. It possibly is also the nearest replication, chronologically-speaking, of Telemann’s scoring: that of traverso, violin, viola da gamba or cello, and basso continuo. It has to be noted, however, that Guillemain specifies the viol for the third obbligato line, whereas Telemann offers cello as an alternative. This in itself is of considerable interest. The relatively new quartet emerged towards the end of an era dominated by the solo and trio sonata genres, the addition of a third concertante instrument fleshing out the configuration of the latter.
- ItemOpen AccessAspects of Schubert's compositional style as displayed in selected piano sonatas(2004) Rooi, Pieter
- ItemOpen AccessAudition techniques of youth orchestras(2008) Brand, Yvonne-Marié; Kierman, S A; Herbst, AnriThe 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.