An investigation into twentieth century flute trios with special reference to representative works by Goossens, Sil'vansky, Raphael, Damase, Marx and Crumb
- Authors: Heunis, Daniela
- Date: 1994
- Subjects: Goossens, Eugene, 1893-1962 Silʹvanskíí, Nikolǎi Iosifovich, 1915-1985 Raphael, Günter, 1903-1960 Damase, Jean-Michel, 1928- Crumb, George Woodwind trios (Flutes (3))
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2641 , http://hdl.handle.net/10962/d1002306
- Description: This thesis ventures into the world of twentieth century chamber music, specifically the trios written for flute, cello and piano. The first chapter discusses the history of the trio, tracing its development from the trio sonata of the Baroque Period to the accompanied sonatas and specifically the sonatas with flute and cello obbligato. Following the unpopularity of the genre throughout the Romantic period, its greater prominence in the Twentieth century is discussed, mentioning specific groups through whom the repertoire has been extended. Forty trios are grouped according to compositional styles. Six trios, each representing an example of a specific style period, have been selected for more detailed discussion, with particular reference to the various ways in which a sense of unity is achieved in each trio. The English composer Eugene Goossens uses impressionistic images, whole tone and chromatic scale patterns and other motifs to unify his trio: "Five Impressions of a Holiday". Nikolay Iosifovich Sil'vansky's "The Hedgehog and the Nightingale" is based on a Russian tale by Juri Jarmicha and uses a narrator. The three characters are represented by specific motivic and / or thematic material which is used throughout the trio. Günter Raphael's Trio-Suite op 44 is the only cyclic work unifying the two outer movements, without repeating any additional motivic material. Jean-Michel Damase condenses some of the material introduced in the opening Prelude in both the two Largo's and the two Arias in his "Sonate en Concert" of 1950. Karl Julius Marx builds his entire "Trio op 61" on a flexible six-note motif. Various movements in the trio" Vox Ba1aenae" by the American George Crumb are 1inked through the use of motives and characteristic instrumental colour. A comprehensive list of 180 twentieth century trios has been compiled, including details of dedications, commissions and first performances. 163 composers from twenty countries, are represented.
- Full Text:
- Date Issued: 1994
- Authors: Heunis, Daniela
- Date: 1994
- Subjects: Goossens, Eugene, 1893-1962 Silʹvanskíí, Nikolǎi Iosifovich, 1915-1985 Raphael, Günter, 1903-1960 Damase, Jean-Michel, 1928- Crumb, George Woodwind trios (Flutes (3))
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2641 , http://hdl.handle.net/10962/d1002306
- Description: This thesis ventures into the world of twentieth century chamber music, specifically the trios written for flute, cello and piano. The first chapter discusses the history of the trio, tracing its development from the trio sonata of the Baroque Period to the accompanied sonatas and specifically the sonatas with flute and cello obbligato. Following the unpopularity of the genre throughout the Romantic period, its greater prominence in the Twentieth century is discussed, mentioning specific groups through whom the repertoire has been extended. Forty trios are grouped according to compositional styles. Six trios, each representing an example of a specific style period, have been selected for more detailed discussion, with particular reference to the various ways in which a sense of unity is achieved in each trio. The English composer Eugene Goossens uses impressionistic images, whole tone and chromatic scale patterns and other motifs to unify his trio: "Five Impressions of a Holiday". Nikolay Iosifovich Sil'vansky's "The Hedgehog and the Nightingale" is based on a Russian tale by Juri Jarmicha and uses a narrator. The three characters are represented by specific motivic and / or thematic material which is used throughout the trio. Günter Raphael's Trio-Suite op 44 is the only cyclic work unifying the two outer movements, without repeating any additional motivic material. Jean-Michel Damase condenses some of the material introduced in the opening Prelude in both the two Largo's and the two Arias in his "Sonate en Concert" of 1950. Karl Julius Marx builds his entire "Trio op 61" on a flexible six-note motif. Various movements in the trio" Vox Ba1aenae" by the American George Crumb are 1inked through the use of motives and characteristic instrumental colour. A comprehensive list of 180 twentieth century trios has been compiled, including details of dedications, commissions and first performances. 163 composers from twenty countries, are represented.
- Full Text:
- Date Issued: 1994
A portfolio of original compositions exploring syncretism between Indian and western music
- Authors: Ram, Deepak
- Date: 1996
- Subjects: Raga Music -- India -- History and criticism Music -- History and criticism Jazz -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2654 , http://hdl.handle.net/10962/d1002320
- Description: In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
- Full Text:
- Date Issued: 1996
- Authors: Ram, Deepak
- Date: 1996
- Subjects: Raga Music -- India -- History and criticism Music -- History and criticism Jazz -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2654 , http://hdl.handle.net/10962/d1002320
- Description: In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
- Full Text:
- Date Issued: 1996
Omusango gwa abalere
- Abalere ba Kabaka flute ensemble, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Abalere ba Kabaka flute ensemble , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kampala f-ug
- Language: Ganda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329206 , vital:61314 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3175-XYZ7370b
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
- Authors: Abalere ba Kabaka flute ensemble , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Uganda Kampala f-ug
- Language: Ganda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329206 , vital:61314 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3175-XYZ7370b
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
Omubaliya
- Bukombe Mukirane, Hugh Tracey
- Authors: Bukombe Mukirane , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Toro f-ug
- Language: Lhukonzo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169556 , vital:41764 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0131-17
- Description: This flute is unusual in that it is made from a single section of banboo 28 inches long by 3/4 inches. The bamboo grows on the higher slopes of the Ruwenzori mountain just above the homes of the Konjo people who live on the foothills below. The first finger hole is 17 inches from the mouthpiece notch. The four holes are played by the first and third fingers of each hand, the thumbs and second fingers holding the flute. Bamboos on the Ruwenzori are said to grow as much as 14 inches per day, which makes them ideal for making flutes as the distance between nodes is long. Nyamulera dance for men with Nyamulera four holed end blown notched flute, two conical drums, laced, single, played with hands.
- Full Text: false
- Date Issued: 1950
- Authors: Bukombe Mukirane , Hugh Tracey
- Date: 1950
- Subjects: Music--Uganda , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Uganda Toro f-ug
- Language: Lhukonzo
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/169556 , vital:41764 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0131-17
- Description: This flute is unusual in that it is made from a single section of banboo 28 inches long by 3/4 inches. The bamboo grows on the higher slopes of the Ruwenzori mountain just above the homes of the Konjo people who live on the foothills below. The first finger hole is 17 inches from the mouthpiece notch. The four holes are played by the first and third fingers of each hand, the thumbs and second fingers holding the flute. Bamboos on the Ruwenzori are said to grow as much as 14 inches per day, which makes them ideal for making flutes as the distance between nodes is long. Nyamulera dance for men with Nyamulera four holed end blown notched flute, two conical drums, laced, single, played with hands.
- Full Text: false
- Date Issued: 1950
Wood-wind instruments at the cross-roads : a survey of recent changes
- Authors: Honey, Albert Edward
- Date: 1969
- Subjects: Woodwind instruments Woodwind instruments -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2685 , http://hdl.handle.net/10962/d1012331
- Description: Since the rise of the "Stile Rappresentative" early in the seventeenth century, the composer has made definite and increasing demands on specific performance and tonal combination of instrumentalists which has materially affected the developnent in technique and, consequently, the improvement in construction and design of every musical instrument. The monodic "Stile Rappresentative" required expressive instruments with an extensive range to match the singers and, consequently, many instruments of the Renaissance period were rendered obsolescent. For instance, the shawms, pommers and crumhorns disappeared from concerted music-making with the exception of military and outdoor use, mainly in German windbands. More flexible instruments were required, and thus cornetts, flutes (mainly recorders and fipple-flutes), oboes and bassoons came gradually into their places, which for the main part they have occupied in the orchestra ever since that time. The String sections, too, underwent radical changes. A gradual metamorphosis from the Consort of Viols to the Violin Family took place following the work of the craftsmen Gasparo da Salố (1540 - 1609) and Giovanni Paolo Maggini of Brescia, perfected by the famous Cremonese school founded by Andrea Amati and continued by Stradivarius.
- Full Text:
- Date Issued: 1969
- Authors: Honey, Albert Edward
- Date: 1969
- Subjects: Woodwind instruments Woodwind instruments -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2685 , http://hdl.handle.net/10962/d1012331
- Description: Since the rise of the "Stile Rappresentative" early in the seventeenth century, the composer has made definite and increasing demands on specific performance and tonal combination of instrumentalists which has materially affected the developnent in technique and, consequently, the improvement in construction and design of every musical instrument. The monodic "Stile Rappresentative" required expressive instruments with an extensive range to match the singers and, consequently, many instruments of the Renaissance period were rendered obsolescent. For instance, the shawms, pommers and crumhorns disappeared from concerted music-making with the exception of military and outdoor use, mainly in German windbands. More flexible instruments were required, and thus cornetts, flutes (mainly recorders and fipple-flutes), oboes and bassoons came gradually into their places, which for the main part they have occupied in the orchestra ever since that time. The String sections, too, underwent radical changes. A gradual metamorphosis from the Consort of Viols to the Violin Family took place following the work of the craftsmen Gasparo da Salố (1540 - 1609) and Giovanni Paolo Maggini of Brescia, perfected by the famous Cremonese school founded by Andrea Amati and continued by Stradivarius.
- Full Text:
- Date Issued: 1969
Agreement and coordination in XiTsonga, SeSotho and IsiXhosa: an optimality theoretic perspective
- Authors: Mitchley, Hazel
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3423 , vital:20491
- Description: This thesis provides a unified Optimality Theoretic analysis of subject-verb agreement with coordinated preverbal subjects in three Southern Bantu languages: Xitsonga (S53), Sesotho (S33), and isiXhosa (S41). This analysis is then used to formulate a typology of agreement resolution strategies and the contexts which trigger them. Although some accounts in the Bantu literature suggest that agreement with coordinate structures is avoided by speakers (e.g. Schadeberg 1992, Voeltz 1971) especially when conjuncts are from different noun classes, I show that there is ample evidence to the contrary, and that the subject marker used is dependent on several factors, including (i) the [-HUMAN] specification on the conjuncts, (ii) whether the conjuncts are singular or plural, (iii) whether or not the conjuncts both carry the same noun class feature, and (iv) the order of the conjuncts. This thesis shows that there are various agreement resolution strategies which can beused: 1) agreement with the [+HUMAN] feature on the conjuncts, 2) agreement with the[-HUMAN] feature on the conjuncts, 3) agreement with the noun class feature on both conjuncts, 4) agreement with the noun class feature on the conjunct closest to the verb, and 5) agreement with the noun class feature on the conjunct furthest from the verb. Not all of these strategies are used by all languages, nor are these strategies interchangeable in the languages which do use them – instead, multiple factors conspire to trigger the use of a specific agreement strategy within a specific agreement featural context. I show that these effects can be captured using Optimality Theory (Prince and Smolensky 2004). The analysis makes use of seven constraints: RES#, MAX[+H], MAX[-H], DEP[-H], MAXNC, DEPNC, and AGREECLOSEST. The hierarchical ranking of these constraints not only accounts for the confinement of particular strategies to specific agreement featural contexts within a language, but also accounts for the cross-linguistic differences in the use of these strategies. I end off by examining the typological implications which follow from the OT analysis provided in this thesis.
- Full Text:
- Date Issued: 2016
- Authors: Mitchley, Hazel
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3423 , vital:20491
- Description: This thesis provides a unified Optimality Theoretic analysis of subject-verb agreement with coordinated preverbal subjects in three Southern Bantu languages: Xitsonga (S53), Sesotho (S33), and isiXhosa (S41). This analysis is then used to formulate a typology of agreement resolution strategies and the contexts which trigger them. Although some accounts in the Bantu literature suggest that agreement with coordinate structures is avoided by speakers (e.g. Schadeberg 1992, Voeltz 1971) especially when conjuncts are from different noun classes, I show that there is ample evidence to the contrary, and that the subject marker used is dependent on several factors, including (i) the [-HUMAN] specification on the conjuncts, (ii) whether the conjuncts are singular or plural, (iii) whether or not the conjuncts both carry the same noun class feature, and (iv) the order of the conjuncts. This thesis shows that there are various agreement resolution strategies which can beused: 1) agreement with the [+HUMAN] feature on the conjuncts, 2) agreement with the[-HUMAN] feature on the conjuncts, 3) agreement with the noun class feature on both conjuncts, 4) agreement with the noun class feature on the conjunct closest to the verb, and 5) agreement with the noun class feature on the conjunct furthest from the verb. Not all of these strategies are used by all languages, nor are these strategies interchangeable in the languages which do use them – instead, multiple factors conspire to trigger the use of a specific agreement strategy within a specific agreement featural context. I show that these effects can be captured using Optimality Theory (Prince and Smolensky 2004). The analysis makes use of seven constraints: RES#, MAX[+H], MAX[-H], DEP[-H], MAXNC, DEPNC, and AGREECLOSEST. The hierarchical ranking of these constraints not only accounts for the confinement of particular strategies to specific agreement featural contexts within a language, but also accounts for the cross-linguistic differences in the use of these strategies. I end off by examining the typological implications which follow from the OT analysis provided in this thesis.
- Full Text:
- Date Issued: 2016
Instrument building as a tool for the revitalisation and revaluing of traditional music transmission: An investigation in Tshandama and Mbahe in Venda, South Africa
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31
The rise of the French organ symphony with special reference to the works of Alexandre Guilmant and Charles-Marie Widor
- Authors: Johnson, Bruce Richard
- Date: 1990
- Subjects: Guilmant, Alexandre, 1837-1911 Widor, Charles-Marie, 1844-1937 Organ music -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2643 , http://hdl.handle.net/10962/d1002308
- Description: This thesis on the Rise of the French Organ Symphony refers especially to the relevant works of Alexandre Guilmant and Charles-Marie Widor. It commences with a survey of the historical background, dealing with the development of French organ music from the 16th to 19th Century and the development of organ building in France from the 17th to 19th Century. It then proceeds to descriptions of the organs of St Clotilde, La Trinité and St Sulpice Churches in Paris, which are followed by biographical profiles of Cesar Franck, Alexandre Guilmant and Charles-Marie Widor, respectively. The major part of the thesis is devoted to a detailed analysis of the organ sonatas of Guilmant and the organ symphonies of Widor, which are discussed from the point of their cyclic outline and aspects of form and of style. The final chapter summarises the major findings of the analytical research and evaluates by comparative method, the merits and achievements of the two composers. In addition, Appendices are attached, providing specifications of various French organs and pictorial material relevant to the thesis. A separate cassette tape features characteristic sounds of Cavailie-Coll organs.
- Full Text:
- Date Issued: 1990
- Authors: Johnson, Bruce Richard
- Date: 1990
- Subjects: Guilmant, Alexandre, 1837-1911 Widor, Charles-Marie, 1844-1937 Organ music -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2643 , http://hdl.handle.net/10962/d1002308
- Description: This thesis on the Rise of the French Organ Symphony refers especially to the relevant works of Alexandre Guilmant and Charles-Marie Widor. It commences with a survey of the historical background, dealing with the development of French organ music from the 16th to 19th Century and the development of organ building in France from the 17th to 19th Century. It then proceeds to descriptions of the organs of St Clotilde, La Trinité and St Sulpice Churches in Paris, which are followed by biographical profiles of Cesar Franck, Alexandre Guilmant and Charles-Marie Widor, respectively. The major part of the thesis is devoted to a detailed analysis of the organ sonatas of Guilmant and the organ symphonies of Widor, which are discussed from the point of their cyclic outline and aspects of form and of style. The final chapter summarises the major findings of the analytical research and evaluates by comparative method, the merits and achievements of the two composers. In addition, Appendices are attached, providing specifications of various French organs and pictorial material relevant to the thesis. A separate cassette tape features characteristic sounds of Cavailie-Coll organs.
- Full Text:
- Date Issued: 1990
Composition Portfolio
- Authors: Bessey, Warren Gregory
- Date: 2023-04-10
- Subjects: Composition (Music) , Zulu (African people) Songs and music , Music Cross-cultural studies , uMkabayi kaJama , Nandi , Nobility South Africa Zululand History
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/404940 , vital:70123
- Description: Excerpt from Introduction: My interest in the Zulu royal family intensified as I began to read many stories and have lengthy conversations with members of the Zulu royal family and others, including Dr Maxwell Shamase (University of Zululand), about Zulu history. I was struck by the power and prowess of Princess Mkabayi (1750-1843). The elders were said to be speechless when she spoke. According to Shamase, a common Zulu expression which references Mkabayi’s well-known verbal skill is Umuntu ukhuluma kome umlomo, and translates as [like Mkabayi] the speaker speaks clearly and leaves no room for misunderstandings and misinterpretations. I found her to be a brilliant strategist with a servant heart and one whom history had not given due credit, and I was inspired to bring her story to life by setting it to music. I wanted to explore whether or not the events surrounding Mkabayi led to a change of consciousness among the Zulu nation, and I used this as a theme for my symphonic work about her. The lives of Queen Nandi (King Shaka’s mother) and Princess Mkabayi (King Shaka’s aunt) made for fascinating stories I had been privileged to discover, and I felt they were South African treasures to be elevated and shared with the world. The two works listed above form part of my repertoire based on Zulu royal history which are collectively known as “The Royal Trilogy,” and I have come to think of them as part of a developing “urban classical repertoire”. The Royal Trilogy is a set of three compositions with 33 independent scenes linking historical events and people. It includes the following entitled symphonic works for full orchestra: Nandi iNdlovukazi yezi Ndlovukazi (hereinafter “Queen Nandi”), Inkosazane Mkabayi (hereinafter “Princess Mkabayi”), and iNkosi uShaka: Umbono, Isizwe, Isiphetho - King Shaka: A Vision, A Nation, A Destiny (hereinafter “King Shaka”). Nandi premiered on 22 September 2016 as part of “A Musical Tribute Celebrating 200 Years of the Zulu Monarchy,” and “Mkabayi” premiered on 6 September 2018 under a programme titled “Princess Mkabayi: Celebrating Heritage Month”. Both pieces were performed at the Durban City Hall by the KwaZulu-Natal Philharmonic Orchestra with a mass Zulu choir (combination of the Clermont Community Choir, Prince Mshiyeni Choir, and Thokozani Choral Society) for socio-economic and ethnically diverse audiences. The final work, “King Shaka,” is expected to premiere in 2023. A future adaption of the Royal Trilogy is envisioned as an Afro Fusion Contemporary Ballet. , Thesis (MMus) -- Faculty of Humanities, Music & Musicology, 2023
- Full Text:
- Date Issued: 2023-04-10
- Authors: Bessey, Warren Gregory
- Date: 2023-04-10
- Subjects: Composition (Music) , Zulu (African people) Songs and music , Music Cross-cultural studies , uMkabayi kaJama , Nandi , Nobility South Africa Zululand History
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/404940 , vital:70123
- Description: Excerpt from Introduction: My interest in the Zulu royal family intensified as I began to read many stories and have lengthy conversations with members of the Zulu royal family and others, including Dr Maxwell Shamase (University of Zululand), about Zulu history. I was struck by the power and prowess of Princess Mkabayi (1750-1843). The elders were said to be speechless when she spoke. According to Shamase, a common Zulu expression which references Mkabayi’s well-known verbal skill is Umuntu ukhuluma kome umlomo, and translates as [like Mkabayi] the speaker speaks clearly and leaves no room for misunderstandings and misinterpretations. I found her to be a brilliant strategist with a servant heart and one whom history had not given due credit, and I was inspired to bring her story to life by setting it to music. I wanted to explore whether or not the events surrounding Mkabayi led to a change of consciousness among the Zulu nation, and I used this as a theme for my symphonic work about her. The lives of Queen Nandi (King Shaka’s mother) and Princess Mkabayi (King Shaka’s aunt) made for fascinating stories I had been privileged to discover, and I felt they were South African treasures to be elevated and shared with the world. The two works listed above form part of my repertoire based on Zulu royal history which are collectively known as “The Royal Trilogy,” and I have come to think of them as part of a developing “urban classical repertoire”. The Royal Trilogy is a set of three compositions with 33 independent scenes linking historical events and people. It includes the following entitled symphonic works for full orchestra: Nandi iNdlovukazi yezi Ndlovukazi (hereinafter “Queen Nandi”), Inkosazane Mkabayi (hereinafter “Princess Mkabayi”), and iNkosi uShaka: Umbono, Isizwe, Isiphetho - King Shaka: A Vision, A Nation, A Destiny (hereinafter “King Shaka”). Nandi premiered on 22 September 2016 as part of “A Musical Tribute Celebrating 200 Years of the Zulu Monarchy,” and “Mkabayi” premiered on 6 September 2018 under a programme titled “Princess Mkabayi: Celebrating Heritage Month”. Both pieces were performed at the Durban City Hall by the KwaZulu-Natal Philharmonic Orchestra with a mass Zulu choir (combination of the Clermont Community Choir, Prince Mshiyeni Choir, and Thokozani Choral Society) for socio-economic and ethnically diverse audiences. The final work, “King Shaka,” is expected to premiere in 2023. A future adaption of the Royal Trilogy is envisioned as an Afro Fusion Contemporary Ballet. , Thesis (MMus) -- Faculty of Humanities, Music & Musicology, 2023
- Full Text:
- Date Issued: 2023-04-10
Baladjigui Moussa
- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128870 , vital:36176 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-07
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128870 , vital:36176 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-07
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
Manore
- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128789 , vital:36158 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-01
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128789 , vital:36158 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-01
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
Madame Siby
- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128832 , vital:36171 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-02
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128832 , vital:36171 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-02
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
Ligueyante
- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128846 , vital:36173 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-04
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128846 , vital:36173 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-04
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
Yalla Bahna
- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128865 , vital:36175 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-06
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128865 , vital:36175 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-06
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
Sare Bamba
- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128841 , vital:36172 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-03
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128841 , vital:36172 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-03
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
Touba
- Musa Afia Ngum (writer, composer, arranger, lead vocal), Mbaye Gaye, Amie Cham (backing vocal), Sara Ba (flute), Bakery Cissokho (kora), Alioun Manneh (balafon), Pape Ndiaye Guewell (percussion), Malick Soce (xalam), Wole Rendall
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128860 , vital:36174 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-05
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
- Authors: Musa Afia Ngum (writer, composer, arranger, lead vocal) , Mbaye Gaye, Amie Cham (backing vocal) , Sara Ba (flute) , Bakery Cissokho (kora) , Alioun Manneh (balafon) , Pape Ndiaye Guewell (percussion) , Malick Soce (xalam) , Wole Rendall
- Date: 2000
- Subjects: Folk music , Popular music--Africa, West , Africa Senegal Dakar f-sg
- Language: Wolof
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128860 , vital:36174 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC15-05
- Description: The songs are mostly about the ancient kingdoms of the Senegambia region and its landscapes, community belonging and values, and he favoured reuniting the Gambia with Senegal
- Full Text: false
- Date Issued: 2000
Flute Tune Six
- Katsuba Mwongolo, Hugh Tracey
- Authors: Katsuba Mwongolo , Hugh Tracey
- Date: 1952
- Subjects: Genya (African people) , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Butembo f-cg
- Language: Nande
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/168682 , vital:41639 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0127-12
- Description: Herdman's tune from the highlands on the eastern border of the Congo where the hills run alongside the great western rift opposite the Ruwenzori mountains. This remarkable player was somewhat 'simple' herdsman. He plays his flute all day to his cattle and has developed, they say, a distinct style of his own. He is inclined to hum while he plays and his voiced notes can be heard forming a celeste with those of the flute. The player was given a 'Highly commended' prize in the 1952 Osborn Awards for the best African musicians of the year. The first four tunes were copied frim discs in the Reference Library as the original tapes were not available. Nyamulera flute, 4 holed, notched.
- Full Text: false
- Date Issued: 1952
- Authors: Katsuba Mwongolo , Hugh Tracey
- Date: 1952
- Subjects: Genya (African people) , Nande (Congolese (Democratic Republic) and Ugandan people) , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Butembo f-cg
- Language: Nande
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/168682 , vital:41639 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0127-12
- Description: Herdman's tune from the highlands on the eastern border of the Congo where the hills run alongside the great western rift opposite the Ruwenzori mountains. This remarkable player was somewhat 'simple' herdsman. He plays his flute all day to his cattle and has developed, they say, a distinct style of his own. He is inclined to hum while he plays and his voiced notes can be heard forming a celeste with those of the flute. The player was given a 'Highly commended' prize in the 1952 Osborn Awards for the best African musicians of the year. The first four tunes were copied frim discs in the Reference Library as the original tapes were not available. Nyamulera flute, 4 holed, notched.
- Full Text: false
- Date Issued: 1952
Asenga omwami tagayala
- Abalere ba Kabaka (Performer), Abalere (Composer)
- Authors: Abalere ba Kabaka (Performer) , Abalere (Composer)
- Subjects: Morality song , Ndere end-blown flute , Cylindrical drum , Laced conical drum , Lubili , Mengo , Kampala , Uganda
- Type: Sound , Music
- Identifier: vital:15310 , MOA24-02 , http://hdl.handle.net/10962/d1017615 , MOA24
- Description: Morality song by Abalere ba Kabaka, accompanied by ndere end-blown flute, cylindrical drum and laced conical drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Abalere ba Kabaka (Performer) , Abalere (Composer)
- Subjects: Morality song , Ndere end-blown flute , Cylindrical drum , Laced conical drum , Lubili , Mengo , Kampala , Uganda
- Type: Sound , Music
- Identifier: vital:15310 , MOA24-02 , http://hdl.handle.net/10962/d1017615 , MOA24
- Description: Morality song by Abalere ba Kabaka, accompanied by ndere end-blown flute, cylindrical drum and laced conical drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Ssematimba ne Kikwabanga
- Abalere ba Kabaka (Performer), Abalere (Composer)
- Authors: Abalere ba Kabaka (Performer) , Abalere (Composer)
- Subjects: Ndere end-blown flute , Cylindrical drum , Laced conical drum , Lubili , Mengo , Kampala , Uganda
- Type: Sound , Music
- Identifier: vital:15309 , MOA24-01 , http://hdl.handle.net/10962/d1017614 , MOA24
- Description: Topical song by Abalere ba Kabaka using ndere end-blown flute, accompanied by cylindrical and laced conical drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Abalere ba Kabaka (Performer) , Abalere (Composer)
- Subjects: Ndere end-blown flute , Cylindrical drum , Laced conical drum , Lubili , Mengo , Kampala , Uganda
- Type: Sound , Music
- Identifier: vital:15309 , MOA24-01 , http://hdl.handle.net/10962/d1017614 , MOA24
- Description: Topical song by Abalere ba Kabaka using ndere end-blown flute, accompanied by cylindrical and laced conical drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
The history, organization and training of wind bands
- Authors: Honey, Albert Edward
- Date: 1973
- Subjects: Band music -- Instruction and study , Band music -- Analysis, appreciation , Bands (Music) -- Instruction and study , Bands (Music)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2692 , http://hdl.handle.net/10962/d1013343
- Description: From introduction: The decision to use the term "Wind Band" in connection with this work was made after much careful deliberation. The English word "Band" is derived from the French "bande" meaning a group of players. It was first applied in this context in England when the Twenty-four Violins at the Court of Charles II (in emulation of "Le Vingt-quatre Violons du Roi at the Court of Louis XIV of France) were known in England as "The King's Band "Band" is a title generally given at the present time to any of instrumentalists, and indeed, many of the World's most famous conductors have been known to refer to any large symphony orchestra as "The Band" and the dressing-room of every Symphony or Concert orchestra in the British Isles is invariably called "The Band-Room"
- Full Text:
- Date Issued: 1973
- Authors: Honey, Albert Edward
- Date: 1973
- Subjects: Band music -- Instruction and study , Band music -- Analysis, appreciation , Bands (Music) -- Instruction and study , Bands (Music)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2692 , http://hdl.handle.net/10962/d1013343
- Description: From introduction: The decision to use the term "Wind Band" in connection with this work was made after much careful deliberation. The English word "Band" is derived from the French "bande" meaning a group of players. It was first applied in this context in England when the Twenty-four Violins at the Court of Charles II (in emulation of "Le Vingt-quatre Violons du Roi at the Court of Louis XIV of France) were known in England as "The King's Band "Band" is a title generally given at the present time to any of instrumentalists, and indeed, many of the World's most famous conductors have been known to refer to any large symphony orchestra as "The Band" and the dressing-room of every Symphony or Concert orchestra in the British Isles is invariably called "The Band-Room"
- Full Text:
- Date Issued: 1973