Browsing by Department "College of Music"

Now showing 1 - 20 of 205
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    20th-century serial thought and its development from performed to electronic music.
    (1966) Mears, Guy Edgar Frank
    Unable to copy abstract from PDF document
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    4 Charakterstücke, Op. 3 for clarinet and piano
    (2013) Verhey, Th. H. H
    UCT 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.
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    A chronicle of cultural transformation: ethnography of Badagry Ogu musical practices
    (2020) Kunnuji, Joseph; Bruinders, Sylvia
    This 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.
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    A collection of diverse theoretical, philosophical and sociological writings on various aspects of the sonata principle
    (1974) Christopher Ballentine
    The diverse works presented in these two volumes bear a sit;nificant relationship· to ca.ch other and to a common underlying theme, whi.ch may be said to be an attempt to enlarge our aYmreness of the nature and the possibilities of the Sonata Principle. All were expressly written for publication; one has already been published.
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    A 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, Martin
    There 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.
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    A critical discussion of the twelve-tonal idiom of Anton Webern and criticism of its assessmant by some natable theorists
    (1973) Everson, Cromwell; Prof. Gunter Pulvermacher
    Webern took over from Schoenberg, and others, and elevated the art of music to an auditory mathernatics. "It is given only to powerful spirits to travel this razor edge. Lesser ones 1 ack the requisite inner certainty. Indeed Webern never pandered to popular taste. iii Every tone he wrote was dictated to by musical necessity ·and logic. No other composer has shown such iron consistency in the development of his art as Webern has. In him we find an evolutionary growth which consistently advanced the frontiers of music and presented the world with a series of masterpieces which,regrettably,are too seldom performed. Yet during his life Webern was scandalously neglected and misunderstood. It pains one to think that the Genius who created the Orchestral Variations uttered these heart-rending words: "Now, my dear chap, say your piece and exert your influence, I beg of you. If only some notice at all could be taken of my work!" It 2 But History plays amazing quirks% Within ten years or so after these words were written Webern became the dominating influence in twentieth century music. His ascent. was so glittering that Posterity named periods in honour of him, that world-famous composers reconstructed their thinking .to write in the Webernite manner. There are few who have attained such a manifestation of power to determine an artistic direction by sheer influence or reaction. Thus we have approached this study of Webern with awe a~d the further we have progressed,the greater has our expression of admiration and humility become.
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    A critical discussion of the twelve-tonal idiom of Anton Webern and criticism of its assessmant by some natable theorists
    (1973) Everson, Cromwell; Prof. Gunter Pulvermacher
    Webern took over from Schoenberg, and others, and elevated the art of music to an auditory mathernatics. "It is given only to powerful spirits to travel this razor edge. Lesser ones 1 ack the requisite inner certainty. Indeed Webern never pandered to popular taste. iii Every tone he wrote was dictated to by musical necessity ·and logic. No other composer has shown such iron consistency in the development of his art as Webern has. In him we find an evolutionary growth which consistently advanced the frontiers of music and presented the world with a series of masterpieces which,regrettably,are too seldom performed. Yet during his life Webern was scandalously neglected and misunderstood. It pains one to think that the Genius who created the Orchestral Variations uttered these heart-rending words: "Now, my dear chap, say your piece and exert your influence, I beg of you. If only some notice at all could be taken of my work!" It 2 But History plays amazing quirks% Within ten years or so after these words were written Webern became the dominating influence in twentieth century music. His ascent. was so glittering that Posterity named periods in honour of him, that world-famous composers reconstructed their thinking .to write in the Webernite manner. There are few who have attained such a manifestation of power to determine an artistic direction by sheer influence or reaction. Thus we have approached this study of Webern with awe a~d the further we have progressed,the greater has our expression of admiration and humility become.
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    A critical discussion of the twelve-tonal idiom of Anton Webern and criticism of its assessmant by some natable theorists
    (1973) Everson, Cromwell; Prof. Gunter Pulvermacher
    Webern took over from Schoenberg, and others, and elevated the art of music to an auditory mathernatics. "It is given only to powerful spirits to travel this razor edge. Lesser ones 1 ack the requisite inner certainty. Indeed Webern never pandered to popular taste. iii Every tone he wrote was dictated to by musical necessity ·and logic. No other composer has shown such iron consistency in the development of his art as Webern has. In him we find an evolutionary growth which consistently advanced the frontiers of music and presented the world with a series of masterpieces which,regrettably,are too seldom performed. Yet during his life Webern was scandalously neglected and misunderstood. It pains one to think that the Genius who created the Orchestral Variations uttered these heart-rending words: "Now, my dear chap, say your piece and exert your influence, I beg of you. If only some notice at all could be taken of my work!" It 2 But History plays amazing quirks% Within ten years or so after these words were written Webern became the dominating influence in twentieth century music. His ascent. was so glittering that Posterity named periods in honour of him, that world-famous composers reconstructed their thinking .to write in the Webernite manner. There are few who have attained such a manifestation of power to determine an artistic direction by sheer influence or reaction. Thus we have approached this study of Webern with awe a~d the further we have progressed,the greater has our expression of admiration and humility become.
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    A guide to national socialism : the Third Reich and Richard Wagner
    (1986) McCalman, Godfrey Kevin; Mr . Stuart Reiner
    This study of Richard Wagner's life and works and their supposed influence on Adolf Hitler and the founders of the Third Reich was prompted by the readily available amount of extremely divergent opinion on the subject. Remarks such as the following are common: As long as Wagner's operas continue to be performed there remains the possibility of a return to some National-Socialist doctrine of salvation. 1 German intellectuals would not have opened their arms quite so readily to Hitler if they had not been prepared for it by Wagner, Bayreuth and the Wagnerians. 2 Wagner was He cared for monster who should prove a self-centred egotist of the worst kind. absolutely nobody. He was an anti-Semitic took other men's wives and money - he fascinating to play. 3 The music of the Nazis is not the Prelude to Die Meistersinger but the Horst-Wessel lied, they deserve nothing better and no other respect can be paid them. 4 The mere mention of Wagner's name in this connection often is enough to provoke considerable ho still ty, particular I y amongst Jews, and an almost inevitable reference to the Nazi regime.
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    A 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, Morne
    MS 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.
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    A study of time in twentieth-century musical ritual: a musico-philosophical development from Debussy (through Stravinsky, Webern and Messiaen) to Stockhausen, in the utilization of musical time and ecstatic musical involvement for the purpose of transcending the consciousness of Real Time and Space.
    (1976) Pienaar, Sarah Johanna
    The study rests on a fundamental premise: The artist, in his art, reflects the consciousness of his time. "Man of a given time and place, in creating the ideological and artistic systems by which he has expressed himself, has projected into his philosophy, his literature, and his art a reflection of t he same fundamental preoccupations. These preoccupations, which may be expressed in various media, are those of his time and of its material, moral, economic, social and spiritual circumstances. The genius of the individual serves only to give a more universal and eternal significance to them through the amplitude 1 and quality of his vision."
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    A study of time in twentieth-century musical ritual: a musico-philosophical development from Debussy (through Stravinsky, Webern and Messiaen) to Stockhausen, in the utilization of musical time and ecstatic musical involvement for the purpose of transcending the consciousness of Real Time and Space.
    (1976) Pienaar, Sarah Johanna
    The study rests on a fundamental premise: The artist, in his art, reflects the consciousness of his time. "Man of a given time and place, in creating the ideological and artistic systems by which he has expressed himself, has projected into his philosophy, his literature, and his art a reflection of t he same fundamental preoccupations. These preoccupations, which may be expressed in various media, are those of his time and of its material, moral, economic, social and spiritual circumstances. The genius of the individual serves only to give a more universal and eternal significance to them through the amplitude 1 and quality of his vision."
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    A study of time in twentieth-century musical ritual: a musico-philosophical development from Debussy (through Stravinsky, Webern and Messiaen) to Stockhausen, in the utilization of musical time and ecstatic musical involvement for the purpose of transcending the consciousness of Real Time and Space.
    (1976) Pienaar, Sarah Johanna
    The study rests on a fundamental premise: The artist, in his art, reflects the consciousness of his time. "Man of a given time and place, in creating the ideological and artistic systems by which he has expressed himself, has projected into his philosophy, his literature, and his art a reflection of t he same fundamental preoccupations. These preoccupations, which may be expressed in various media, are those of his time and of its material, moral, economic, social and spiritual circumstances. The genius of the individual serves only to give a more universal and eternal significance to them through the amplitude 1 and quality of his vision."
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    Abstract geometry in the motets of Dunstable and Dufay. Volume 1 and 2
    (1983) Rommelaere, Paul Frederick Marie
    This 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:
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    African music and its use in the school: an investigation
    (1981) Petersen, Alvin Benito; Rink, M
    The 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.
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    African music and its use in the school: an investigation
    (1981) Petersen, Alvin Benito; Rink, M
    The 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.
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    Alban Berg's Lulu
    (1986) Naude Janet Joan; May, James
    This 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.
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    Alban Berg's Lulu
    (1986) Naude Janet Joan; May, James
    This 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.
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    An analysis Franza Lisz's stylistic development as manifested by the three compositional stages of the12 etudes, op.1 (1826), the douze grandes etudes (1838) and the final version, etudes d'execution transcendante (1851).
    (1992) Cilliers, D
    Individual etudes need to be related to their reworked and/or revised counterparts in the other sets, and on the other hand, comparisons also have to be drawn between general stylistic aspects as they are contained within each individual set. In addition, whole sets require stylistic comparison with one another. A total of 37 pieces are involved, all of which share various degrees of similarity in style and content. The first chapter deals with style so that it traces general procedures in the various compositional stages under the separate headings of rhythm, melody, harmony, etc. Examples are included in order to support findings. To compensate for a measure of detail lost in this process, the second chapter offers a detailed description of the evolution undergone towards the final versions of two etudes. The fact that no gradual chronological evolution had taken place among the various versions of the pieces, posed a difficulty to organisation. The second and third sets are more closely related to each other than the first and second sets. The second set contains new compositions loosely related to the first set, and the third set represents a revision of the second. In addition, the second version never constitutes the final masterpieces and it is at best regarded as an initial manifestation of the final concept. Other than providing the key scheme and basic thematic ideas, the first set does not have much bearing on the later sets. As a result, only two main sets emerge, the second comprising the later two versions. It is because of all these factors that the order of discussion in the second chapter may appear strange at first.