List of Titles

Releasing the pause button on Hugh Tracey’s field recordings of 1959: repatriation and revitalisation of a selection of the Bangwaketse music held at the International Library of African Music (ILAM)

- Mojaki, Pinkie Gomolemo

Authors: Mojaki, Pinkie Gomolemo
Date: 2016
Language: English
Type: Thesis , Masters , MMus
Identifier: http://hdl.handle.net/10962/4267 , vital:20640
Description: This thesis examines an attempt at repatriation and the revitalisation of archival holdings from the International Library of African Music (ILAM) to the Bangwaketse community of Botswana. I assess how the attempt may shape future possibilities for the repatriation of more recordings from ILAM to other areas in Botswana. Drawing on the narrative compiled from the various sessions of memory retrieval and recollections of the past, I establish how the Bangwaketse claim ownership of their musical heritage. Memory and nostalgic reactions to musical sound contribute to a construction of communal truths as held by the people who claim their heritage to the music from ILAM. Memory retrieval and recollection are explored in this research as a process that allows the members of the community to reconnect with their past, interpret their memories, modify and create the ideal image of their community and retell their stories. Through the interactions and exploration of memory, I explore how the Bangwaketse are motivated to engage with the recordings from ILAM. In addition, based on the observation of the recent music performances of the Bangwaketse, I examine how the approaches they used, to sustain the traditional music that they continue to play, may inform the process of returning and revitalising archival holdings from ILAM. I argue that, for the purpose of revitalising the old archival recordings, the performers require incentives that are related to social developments and their contexts. Furthermore, the revitalisation effort is a joint effort between the performers, culture bearers as well as the audiences. In addition, I argue that in order to reinsert the archival recordings in the community, the recordings should be worked through the education sector and be taught to all generations, especially the children who hold the possibility of continued music revitalisation. The research evaluates how the traditional music of the Bangwaketse is conceptualized in recent years by the different research participants. The project further describes the innate need for a continued music culture by the Bangwaketse. Some sections of the data explain how music ‘escaped’ the social practices and structures of the past. After tracing how the traditional music ceased, I study how the Bangwaketse communally construct different strategies to re-insert the music into their livelihoods in order to realise the revitalisation of ILAM recordings in their original performance contexts.
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Date Issued: 2016

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The initial years (ca. 1528-1565) of Claude le Jeune : Huguent and musical humanist

- Potgieter, Johann Hendrik Loedolff Smuts

Authors: Potgieter, Johann Hendrik Loedolff Smuts
Date: 1989
Subjects: Le Jeune, Claude, d. 1600 Music -- France -- 16th century -- History and criticism
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2673 , http://hdl.handle.net/10962/d1007392
Description: Claude Le Jeune (born at Valenciennes , ca. 1528; died at Paris, 1600) was a towering figure in French Renaissance music. In spite of this, few biographical details have survived the turmoils of his time , which was marked primarily by the Wars of Religion, the last years of the reign of the Valois, and the struggle of Henry IV for the crown of France. In order, therefore, to attain a more complete picture of Le Jeune's life and work, the general historical and spiritual background, circumstantial evidence, is considered more implicating much intensely than usual. The two dominating beacons in Le Jeune's life are his allegiance to the Reformed Faith , involving close connections to leading Huguenot figures, and his inclination towards Humanism, confirmed by his association, from 1570 onwards, with the Academie de Poesie et de Musique of Jean-Antoine De Baïf. The present study is concerned with the initial years of Claude Le Jeune, covering the thirty- seven years of his life from 1528 (the assumed year of birth) intil 1565. In terms of publications, this period includes his "youthful" works : four early chansons from 1552, the Dix Pseaumes with a dialogue for seven voices , Mais qui es-tu,of 1564, and a single motet à 3, Nigra sum sed formosa, published in 1565. The background of his northern homeland is screened with particular attention to the involvement of the members of the Le Jeune family in the religious affairs of the time. Also the general cultural and musical milieu of the Netherlands is investigated within this and Le Jeune's first published works are considered biographical framework. These works still bear the stodginess and gaucheness of an apprentice. The probability of a sojourn in Italy is explored with positive findings. This visit most likely brought Le Jeune within the circle of the ageing Willaert at Venice, Major focus is placed upon the Dix Pseaumes, the first comprehensive collection to appear entirely under Le Jeunes ' s own name and dominating the initial period of his creative life. Detailed analyses reveal the hand of a now asserted composer. well-versed in technical matters and in possession of a fine perception for both the tenets of Calvinism and the aspirations of musical Humanism . As far as the latter is concerned. pertinent attention is given to its roots in the rhetorical and philosophical traditions. and how Le Jeune accommodated issues which sprouted from these and occupied the theorists of his time. Musical text expression holds. since the Dix Pseaumes. a central place in Le Jeune's works in which he maintains a fresh and subtle approach steering clear of the dogmatism of some contemporary theorists. Using various musical devices (modes, chiavette, melody, rhythm, harmony, texture, and even structure) to serve text expression. Le Jeune' s parlance gradually develops a currency in its own right. often expressing the meaning or implication of a text more comprehensively than can be attained by means of a linguistic medium. Appropriate to this particular trait of development in language. recognition is given Le Jeune's musical language. Included into the discussion are concordances of works by other composers where these exist as well as references to the relevant musical topography. A concluding summary of the moulding forces in the initial years of Claude Le Jeune's life as well as the gradual formulation of his distinct musical language concludes this study which can be regarded as an introduction to a more comprehensive programme of research on the life, times and works of Claude Le Jeune, Huguenot and Musical Humanist. A general bibliography is included while the folling appendices are included. 1 . A Bibliography of the works of Claude Le Jeune (all printed editions from 1552-1775). complete with descriptions . text incipits. sources. and class nubers; 2 . some relevant documents; 3. the literary texts of the works discussed; and 4. the "youthful" works. all of these (except the chanson spirituelle. Mais qui es- tu,as yet not republished . Various portraits. maps and other relevant illustrations are intended to enhance the presentation.
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Date Issued: 1989

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Techniques of Xhosa music: a study based on the music of the Lumko district

- Dargie, David John

Authors: Dargie, David John
Date: 1987
Subjects: Xhosa (African people) -- Music , Lumko district , Eastern Cape (South Africa) , Xhosa music , Musicology , AbaThembu , Ntsikana , Songs , Musical bows , Overtone singing
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2630 , http://hdl.handle.net/10962/d1001975
Description: Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
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Date Issued: 1987

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The fourteen last rondos of C P E Bach: an investigation into their historic position, their form and their style

- Lewis, Pauline Mary

Authors: Lewis, Pauline Mary
Date: 1987
Subjects: Bach, Carl Philipp Emanuel, 1714-1788 -- Criticism and interpretation
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2663 , http://hdl.handle.net/10962/d1004608
Description: This thesis deals with a set of compositions by C. P.E. Bach, referred to as "The Last Fourteen Rondos". Thirteen of these are contained in the collections of sonatas, fantasias and rondos for connoisseurs and music lovers. The fourteenth is a separate work, entitled "The Farewell From a Silbermann Clavier in the Form of a Rondo". After establishing the background and the history of these rondos, the thesis then proceeds to a detailed analysis of the various compositional aspects. First, it tries to explain the overall design of the rondos, a design which differs from that normally associated with rondo form. It then deals with the structure of the thematic material and shows Bach's preference for phrase parallelism and a relatively simple melodic and harmonic outline of the various subjects. Special chapters are devoted to the manner in which C.P.E. Bach treats the musical substance, namely, by means of Variation and by systematic development. A short chapter is then devoted to the fantasia sections, which are included into most of the rondos. It is in the field of harmony where C.P.E. Bach emerges as a most important forerunner of nineteenth century musical trends and, consequently, some detailed analyses form a major portion of the chapter dealing with harmony. Special attention is then given to the various aspects of C.P.E. Bach's style and, in particular, to the pianistic · traits. The thesis ends with a brief survey of the influence which C.P.E. Bach exerted on his contemporaries and on later composers.
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Date Issued: 1987

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Aspects of musical education in Grahamstown, 1832-1950

- Sparrow, Marion Janet

Authors: Sparrow, Marion Janet
Date: 1986
Subjects: School music -- South Africa -- Grahamstown School music -- Instruction and study -- South Africa -- Grahamstown Music -- South Africa -- Grahamstown -- History
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2664 , http://hdl.handle.net/10962/d1004616
Description: From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
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Date Issued: 1986

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The playing characteristics of American trombones and German-system bassoons

- Galloway, David John

Authors: Galloway, David John
Date: 1985
Subjects: Trombone Bassoon
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2661 , http://hdl.handle.net/10962/d1004508
Description: Preface: South Africa, a country renowned for its mineral wealth has, perhaps manufacturing paradoxically, no musical wind instrument industry of its own as yet. Thus performers, educators and students alike have either to travel to Europe or America to select an instrument, or to import an expensive instrument that may be both unseen and untried, as very few musical instrument dealers are prepared to outlay capital on stock which appeals to a decided minority of their potential customers. Alternately, a purchase of a particular make or model can be made on the basis of a hearsay opinion; at best, the opportunity for first-hand assessment is minimal. It is the trombone of U. S.A. manufacture and the German bassoon which represent the current state of their respective manufacturing arts, and the yardsticks by which their many imitator's efforts are measured. One of the main aims of this Thesis is to describe in objective terms what has been experienced subjectively over the years of involvement with these instruments -- arguably a task similar to that of the art critic, but operating within more positively defined parameters namely, what works for the student and professional. , and what doesn't. The candidate claims credit for introducing the large-bore Bb/F trombone to South Africa in 1961, following with the introduction of the ·first double-valve bass trombone in 1965, and the first in 1979. The first Schreiber bassoons The advantages and trombone and other bassoon and other such instrument with in-line rotors of the new 5000 series larger-bore was likewise introduced in 1981. pitfalls of " doubling" between the wind instruments , and between the winds, are disc ussed at length in the final section of the Thesis.
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Date Issued: 1985

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A study of piano pedagogy : its history, theory, psychology and practical application

- Keeves, June Kelk

Authors: Keeves, June Kelk
Date: 1984
Subjects: Piano -- Instruction and study Piano -- Methods
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2662 , http://hdl.handle.net/10962/d1004571
Description: A discourse concerning the importance followed by a study of piano pedagogy; of piano teaching method, its history and general aspects of piano technique; a fully comprehensive method of piano teaching from the very earliest stages to the advanced; a discussion of various important selected concepts incorporated in the method which require particular emphasis; the application of certain concepts in the various style periods, such as dynamics, tempo, tempo rubato, pedalling, ornamentation, to the teaching of a piece; a discussion of the psychology of piano teaching and practising. All of these various branches of study are imperative in the training of the prospective piano teacher. (Preface)
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Date Issued: 1984

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Somewhat strange : a study of the relationships between text and music in English song, 1588-1789

- Hutchings, Geoffrey Justin Mackay

Authors: Hutchings, Geoffrey Justin Mackay
Date: 1984
Subjects: Songs, English -- 16th century -- HIstory and criticism Songs, English -- 17th century -- HIstory and criticism
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2670 , http://hdl.handle.net/10962/d1006978
Description: This study is concerned with the ways in which linguistic texts combine with music to form song, essentially an art of relationship. It argues that the relationship has never been a very stable one outside folk song, and traces the development of the relationship in English song from the appearance of the first English madrigals in 1588 to the death of G F Handel in 1759. The different sorts of relationship during this period are discussed in detail, with particular attention being paid to the sort of lyric poetry that is most suitable for musical setting. The conclusion is reached that, in the art of setting a poem to music, the late Elizabethan masters, Thomas Campion and John Dowlland, were supreme in the period under discussion. After them, the aevelopment of a new system of tonality and of denser textures of accompaniment resulted in music's assumption of a more and more Dominant role in the relationship to the neglect and detriment of poetic text.
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Date Issued: 1984

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Perspectives on the nine symphonies of Anton Bruckner : aspects of thematic and harmonic compositional techniques, with special reference to the first and final movements, symphonies one to nine

- Gibson, Penelope Anne

Authors: Gibson, Penelope Anne
Date: 1982
Subjects: Bruckner, Anton, 1824-1896 -- Symphonies
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2671 , http://hdl.handle.net/10962/d1007168
Description: Preface: This thesis presents perspectives on Bruckner's compositional approach with regard to theme and harmony in the first and final movements of his symphonies one to nine. It must be realised that a fully systematic and comprehensive discussion along these lines would run into volumes. So, salient examples and common tendencies have been extracted as representative of the overall approach. However, Bruckner being the composer he is, is not dogmatic in his approach to composition and so the reader must at all times see for himself how the general technique is adapted to the individual usage in those parts not referred to in this thesis. The thesis presents the subject features of the expositions, first movements, as these are found in various adaptations in all other movements: it also aims to present a comparative study of the structural tonal principles of the works, showing how these influence the thematic forms. Whenever necessary, in the text, definitions are repeated in their original format to avoid cumbersome cross references. The most immediate source is the scores themselves, issued by the International Bruckner Society of Vienna, compiled by Dr. Leopold Nowak. All the analysis is based on these editions except for the third symphony which is based on the 2. Edition of 1878 (Wiesbaden G.M.B .H.)
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Date Issued: 1982

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The development of cello technique in the string quartets of Joseph Haydn with special reference to (a) the various external influences causing this development and (b) the potential use of the cello parts within a teaching situation

- Sholto-Douglas, Ishbel Elizabeth Fraser

Authors: Sholto-Douglas, Ishbel Elizabeth Fraser
Date: 1982
Subjects: Haydn, Joseph, 1732-1809 -- Quartets, strings Cello -- Methods Cello -- Instruction and study
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2666 , http://hdl.handle.net/10962/d1005864
Description: From Introduction: In the middle of the eighteenth century, when Haydn began composing his first string quartets, violin writing was highly advanced and the violin an established solo instrument, its supremacy already firmly endorsed by the Italian Violin Schools of the seventeenth and early eighteenth centuries. The pace of development of the cello, however, was not comparable to that of the violin, despite the fact that the first cello known to us was made in 1572.
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Date Issued: 1982

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Aspects of the theory and practice of choral training in South African schools

- Radue, Robin R

Authors: Radue, Robin R
Date: 1980
Subjects: Choral music -- Scores Choral music -- Instruction and study Choirs (Music) -- Instruction and study , Choral singing , Scores , Children's choirs , Choral training
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2629 , http://hdl.handle.net/10962/d1001974
Description: Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)
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Date Issued: 1980

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Music in Grahamstown, 1880-1900

- Sparrow, Marion Janet

Authors: Sparrow, Marion Janet
Date: 1978
Subjects: Music -- South Africa -- Grahamstown -- History Music -- South Africa -- Eastern Cape -- History
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2674 , http://hdl.handle.net/10962/d1007402
Description: From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .
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Date Issued: 1978

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Pitch learning and the implications for music education

- Byrd, Audrey S

Authors: Byrd, Audrey S
Date: 1977
Subjects: Musical pitch -- Instruction and study
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2627 , http://hdl.handle.net/10962/d1001867
Description: A study of pitch learning must outline first the procedures involved in such learning and then identify specific factors appearing to influence the learning of pitch. Once identified, each factor can then be evaluated by controlled experiment before confirming its influence. Since it is what is heard and perceived that is learnt, I have started with the process of Hearing and Perceiving, for as Arnold Abramovitz, Senior Lecturer in Psychology at Cape Town says, “the reception, processing and interpretation of acoustic symbols constitutes some of the most elusive and complex phenomena to attempt to examine, gauge and measure, due partly to the transient, ephemeral nature of sound itself.”
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Date Issued: 1977

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