Between Renaissance and Baroque: a study of the keybord works of Frescobaldi
- Authors: Maske, H H
- Date: 1963
- Subjects: Frescobaldi, Girolamo,1583-1643 -- Keyboard instrument music , Frescobaldi, Girolamo, 1583-1643 -- Criticism and interpretation , Music -- Italy -- 17th century , Organ music -- History and criticism , Keyboard instrument music -- 17th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2686 , http://hdl.handle.net/10962/d1012841
- Description: The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.
- Full Text:
- Date Issued: 1963
- Authors: Maske, H H
- Date: 1963
- Subjects: Frescobaldi, Girolamo,1583-1643 -- Keyboard instrument music , Frescobaldi, Girolamo, 1583-1643 -- Criticism and interpretation , Music -- Italy -- 17th century , Organ music -- History and criticism , Keyboard instrument music -- 17th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2686 , http://hdl.handle.net/10962/d1012841
- Description: The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.
- Full Text:
- Date Issued: 1963
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.
- Full Text:
- Date Issued: 1989
- 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.
- Full Text:
- Date Issued: 1989
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.
- Full Text:
- Date Issued: 1984
- 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.
- Full Text:
- Date Issued: 1984
Pitch learning and the implications for music education
- 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.”
- Full Text:
- Date Issued: 1977
- 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.”
- Full Text:
- Date Issued: 1977
Pitch learning and the implications for music education
- Authors: Byrd, Audrey S
- Date: 1977
- Subjects: Musical pitch -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2675 , http://hdl.handle.net/10962/d1007403
- Description: From introduction: A study of pitch learning must outlina first the procedures involved in such learning ar~d 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 \'lhat 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."
- Full Text:
- Date Issued: 1977
- Authors: Byrd, Audrey S
- Date: 1977
- Subjects: Musical pitch -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2675 , http://hdl.handle.net/10962/d1007403
- Description: From introduction: A study of pitch learning must outlina first the procedures involved in such learning ar~d 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 \'lhat 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."
- Full Text:
- Date Issued: 1977
Techniques of Xhosa music: a study based on the music of the Lumko district
- 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
- Full Text:
- Date Issued: 1987
- 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
- Full Text:
- Date Issued: 1987
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.
- Full Text:
- Date Issued: 1982
- 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.
- Full Text:
- Date Issued: 1982
The theory and practice of "Klangreihenkomposition"
- Authors: Nowotny, Norbert W
- Date: 1969
- Subjects: Hauer, Josef Matthias, 1883-1959 , Music theory , Twelve-tone system , Musical intervals and scales , Tonality
- Language: German
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2693 , http://hdl.handle.net/10962/d1013394
- Description: Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.
- Full Text:
- Date Issued: 1969
- Authors: Nowotny, Norbert W
- Date: 1969
- Subjects: Hauer, Josef Matthias, 1883-1959 , Music theory , Twelve-tone system , Musical intervals and scales , Tonality
- Language: German
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2693 , http://hdl.handle.net/10962/d1013394
- Description: Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.
- Full Text:
- Date Issued: 1969
Aspects of tradition and originality in the chamber music of Robert Schumann
- Authors: Lucia, Christine
- Date: 1979
- Subjects: Schumann, Robert, 1810-1856 Chamber music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2628 , http://hdl.handle.net/10962/d1001973
- Full Text:
- Date Issued: 1979
- Authors: Lucia, Christine
- Date: 1979
- Subjects: Schumann, Robert, 1810-1856 Chamber music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2628 , http://hdl.handle.net/10962/d1001973
- Full Text:
- Date Issued: 1979
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
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
- 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.)
- Full Text:
- Date Issued: 1982
- 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.)
- Full Text:
- Date Issued: 1982
The British organ and its music during the nineteenth century
- Authors: Wise, James Patrick Gerald
- Date: 1957
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2694 , http://hdl.handle.net/10962/d1013429
- Description: It is a curious fact that, although the literature of the organ is a reasonably large one, no attempt has been made to study the history of the instrument in Britain in any detail. Hopkins and Rimbault covered a certain amount of ground up to 1800, but even they could not deal very extensively with the subject in a volume that was tracing the history of the organ not only in Britain, but throughout Europe, and not only its history but its construction also. For similar reasons Dr. Sumner? (name unclear), in his recent book, could paint little more than an outline picture. However, the British organ's development prior to 1800 was one that does not admit of very discursive treatment. Progress was lamentably slow in comparison with that of Continental organs; and consequently the nineteenth century dawned with British organ-building literally hundreds of years behind that of France, Germany, Belgium and Holland. Yet, a century later, the position was redeemed, and even before the present era opened, the products of British organ-builders were not merely equal to, but, in general superior to those of the Continent in tonal design, mechanism, in artistic finish, and in ordinary maintenance and preservation. The nineteenth century, then, must clearly be regarded as a remarkable, indeed glorious, period in British organ-building, in fact one is tempted to enquire, whether there exists, in the entire artistic and scientific history of any country a similar example of accelerated development; in which one country has made up three hundred years' leeway in one third of that time. This thesis therefore, sets out to examine and describe the events of the century, and the men who were responsible for those events, to trace the growth of the organ in its various departments, and as the instrument itself is only a means to an end, to say something about the way in which it was used, the music that was played on it, and the men who played and composed this music. The thesis is divided into two volumes, the first deals entirely with the history of the instrument and its builders during the nineteenth century, with an introduction briefly recounting the story from the Restoration up to the year 1800; and the second volume is concerned with the music and the musicians as well as the several detailed indexes which are so necessary if a work of this kind is to be of any value at all. A full bibliography is given in Volume Two, but supreme acknowledgement must be paid here to the quarterly periodical "The Organ" - still thriving after an active career that began in July 1921. Its scholarly articles range over the whole field of international organ-building and organ-history, and without its help this thesis would have been far less comprehensive in its scope and far lesss authorative in its source-material.
- Full Text:
- Date Issued: 1957
- Authors: Wise, James Patrick Gerald
- Date: 1957
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2694 , http://hdl.handle.net/10962/d1013429
- Description: It is a curious fact that, although the literature of the organ is a reasonably large one, no attempt has been made to study the history of the instrument in Britain in any detail. Hopkins and Rimbault covered a certain amount of ground up to 1800, but even they could not deal very extensively with the subject in a volume that was tracing the history of the organ not only in Britain, but throughout Europe, and not only its history but its construction also. For similar reasons Dr. Sumner? (name unclear), in his recent book, could paint little more than an outline picture. However, the British organ's development prior to 1800 was one that does not admit of very discursive treatment. Progress was lamentably slow in comparison with that of Continental organs; and consequently the nineteenth century dawned with British organ-building literally hundreds of years behind that of France, Germany, Belgium and Holland. Yet, a century later, the position was redeemed, and even before the present era opened, the products of British organ-builders were not merely equal to, but, in general superior to those of the Continent in tonal design, mechanism, in artistic finish, and in ordinary maintenance and preservation. The nineteenth century, then, must clearly be regarded as a remarkable, indeed glorious, period in British organ-building, in fact one is tempted to enquire, whether there exists, in the entire artistic and scientific history of any country a similar example of accelerated development; in which one country has made up three hundred years' leeway in one third of that time. This thesis therefore, sets out to examine and describe the events of the century, and the men who were responsible for those events, to trace the growth of the organ in its various departments, and as the instrument itself is only a means to an end, to say something about the way in which it was used, the music that was played on it, and the men who played and composed this music. The thesis is divided into two volumes, the first deals entirely with the history of the instrument and its builders during the nineteenth century, with an introduction briefly recounting the story from the Restoration up to the year 1800; and the second volume is concerned with the music and the musicians as well as the several detailed indexes which are so necessary if a work of this kind is to be of any value at all. A full bibliography is given in Volume Two, but supreme acknowledgement must be paid here to the quarterly periodical "The Organ" - still thriving after an active career that began in July 1921. Its scholarly articles range over the whole field of international organ-building and organ-history, and without its help this thesis would have been far less comprehensive in its scope and far lesss authorative in its source-material.
- Full Text:
- Date Issued: 1957
Aspects of musical education in Grahamstown, 1832-1950
- 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.
- Full Text:
- Date Issued: 1986
- 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.
- Full Text:
- Date Issued: 1986
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