The musical life of Henry Hare Dugmore, 1820 settler
- Authors: Henderson, Jenifer M
- Date: 1974
- Subjects: Dugmore, H H (Henry H), 1810-1897
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2682 , http://hdl.handle.net/10962/d1012262
- Description: Henry Hare Dugmore, the eldest son of Isaac and Maria, was destined to play his part in the dramatic future of his adopted country; not only to help as an artisan and a farmer, but to build in the spiritual field as an influential missionary and in the academic field as a most capable lecturer; most important of all, in the Artistic field as a Poet and a Musician.
- Full Text:
- Date Issued: 1974
- Authors: Henderson, Jenifer M
- Date: 1974
- Subjects: Dugmore, H H (Henry H), 1810-1897
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2682 , http://hdl.handle.net/10962/d1012262
- Description: Henry Hare Dugmore, the eldest son of Isaac and Maria, was destined to play his part in the dramatic future of his adopted country; not only to help as an artisan and a farmer, but to build in the spiritual field as an influential missionary and in the academic field as a most capable lecturer; most important of all, in the Artistic field as a Poet and a Musician.
- Full Text:
- Date Issued: 1974
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
Music in Grahamstown, 1880-1900
- 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 .
- Full Text:
- Date Issued: 1978
- 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 .
- Full Text:
- Date Issued: 1978
The keyboard sonatas of Pietro Augusto : an investigation into their formal and stylistic apsects
- Radloff, Timothy Edward Kingswell
- Authors: Radloff, Timothy Edward Kingswell
- Date: 1976
- Subjects: Augusto, Pietro , Sonatas (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2689 , http://hdl.handle.net/10962/d1013047
- Description: This thesis supplements "The Piano Sonata of the Eighteenth Century in Germany" (Vol. 2 in the publication series "Contributions to the development of the Piano Sonata"). It does not aim at a comparative study between Pieto Augusto and his contemporaries but intends to establish the composer's individual characteristics in the light of the general development of the piano sonata during the eighteenth century.
- Full Text:
- Date Issued: 1976
- Authors: Radloff, Timothy Edward Kingswell
- Date: 1976
- Subjects: Augusto, Pietro , Sonatas (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2689 , http://hdl.handle.net/10962/d1013047
- Description: This thesis supplements "The Piano Sonata of the Eighteenth Century in Germany" (Vol. 2 in the publication series "Contributions to the development of the Piano Sonata"). It does not aim at a comparative study between Pieto Augusto and his contemporaries but intends to establish the composer's individual characteristics in the light of the general development of the piano sonata during the eighteenth century.
- Full Text:
- Date Issued: 1976
Aspects of the theory and practice of choral training in South African schools
- 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)
- Full Text:
- Date Issued: 1980
- 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)
- Full Text:
- Date Issued: 1980
The church music of Felix Mendelssohn-Bartholdy :|ban investigation into formal and stylistic aspects of his organ and sacred choral works
- Authors: Johnson, Bruce Richard
- Date: 1981
- Subjects: Mendelssohn-Bartholdy, Felix, 1809-1847 Church music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2669 , http://hdl.handle.net/10962/d1006880
- Full Text:
- Date Issued: 1981
- Authors: Johnson, Bruce Richard
- Date: 1981
- Subjects: Mendelssohn-Bartholdy, Felix, 1809-1847 Church music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2669 , http://hdl.handle.net/10962/d1006880
- Full Text:
- Date Issued: 1981
A study of piano pedagogy : its history, theory, psychology and practical application
- 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)
- Full Text:
- Date Issued: 1984
- 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)
- Full Text:
- Date Issued: 1984
The fourteen last rondos of C P E Bach: an investigation into their historic position, their form and their style
- 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.
- Full Text:
- Date Issued: 1987
- 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.
- Full Text:
- Date Issued: 1987
An investigation into the importance of rhythmic and melodic variation for Brahm's development sections, with special reference to his four symphonies
- Authors: Schoeman, Delene Letitia
- Date: 1966
- Subjects: Brahms, Johannes, 1833-1897 -- Symphonies , Variations -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2690 , http://hdl.handle.net/10962/d1013170
- Description: "Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.
- Full Text:
- Date Issued: 1966
- Authors: Schoeman, Delene Letitia
- Date: 1966
- Subjects: Brahms, Johannes, 1833-1897 -- Symphonies , Variations -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2690 , http://hdl.handle.net/10962/d1013170
- Description: "Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.
- Full Text:
- Date Issued: 1966
Die musikale potensiaal van die kleuter en die ontwikkeling van 'n sillabus vir pre-primêre musiekopvoeding met besondere verwysing na die Dalcroze-, Kodaly-, en Orff-metodes
- Authors: Hendrikse, Salomé
- Date: 1982
- Language: Afrikaans
- Type: Thesis , Masters , MMus
- Identifier: vital:2667 , http://hdl.handle.net/10962/d1006147
- Full Text:
- Date Issued: 1982
- Authors: Hendrikse, Salomé
- Date: 1982
- Language: Afrikaans
- Type: Thesis , Masters , MMus
- Identifier: vital:2667 , http://hdl.handle.net/10962/d1006147
- Full Text:
- Date Issued: 1982
Composition portfolio
- Authors: Caplan, Anthony
- Date: 2017
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/6940 , vital:21202
- Description: Restricted access-thesis available at the Music Library
- Full Text: false
- Date Issued: 2017
- Authors: Caplan, Anthony
- Date: 2017
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/6940 , vital:21202
- Description: Restricted access-thesis available at the Music Library
- Full Text: false
- Date Issued: 2017
The playing characteristics of American trombones and German-system bassoons
- 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.
- Full Text:
- Date Issued: 1985
- 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.
- Full Text:
- Date Issued: 1985
Aspects of form and style in Beethoven's string quartets
- Authors: Biesheuvel, Barbara
- Date: 1963
- Subjects: Beethoven, Ludwig van, 1770-1827 -- Quartets -- strings
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2678 , http://hdl.handle.net/10962/d1007645
- Description: Many books have been written which deal with the subject of form and style in Beethoven's works. Most writers, however, seem to be satisfied with superficial descriptions - in some cases merely programatic - which do not explain the underlying problems and treatment of form. Furthermore, no book exists, to my knowledge, which delves so deeply and with such detail as to deduce with almost certain accuracy the inner coherency of the form. It is the aim of this analysis to approach the problem in this way. The edition used for this purpose is that one published by Ernst Eulenberg Ltd. London WI, which was edited from the autograph M.S. by Professor Dr. Wilhelm Altman. No comparisons are made with other editions, and possible printer's and other errors are not considered. I chose the works to be studied here, the three quartets Op. 59, for two reasons: 1) the string quartet medium is one of the most suitable types of instrumental music for the study of form, 2) the Op. 59 quartets belong to a period in Beethoven's life when he was particularly intent upon experimentation in form and development of dimension.
- Full Text:
- Date Issued: 1963
- Authors: Biesheuvel, Barbara
- Date: 1963
- Subjects: Beethoven, Ludwig van, 1770-1827 -- Quartets -- strings
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2678 , http://hdl.handle.net/10962/d1007645
- Description: Many books have been written which deal with the subject of form and style in Beethoven's works. Most writers, however, seem to be satisfied with superficial descriptions - in some cases merely programatic - which do not explain the underlying problems and treatment of form. Furthermore, no book exists, to my knowledge, which delves so deeply and with such detail as to deduce with almost certain accuracy the inner coherency of the form. It is the aim of this analysis to approach the problem in this way. The edition used for this purpose is that one published by Ernst Eulenberg Ltd. London WI, which was edited from the autograph M.S. by Professor Dr. Wilhelm Altman. No comparisons are made with other editions, and possible printer's and other errors are not considered. I chose the works to be studied here, the three quartets Op. 59, for two reasons: 1) the string quartet medium is one of the most suitable types of instrumental music for the study of form, 2) the Op. 59 quartets belong to a period in Beethoven's life when he was particularly intent upon experimentation in form and development of dimension.
- Full Text:
- Date Issued: 1963
The classical guitar : a study in structural, technical and musical evolution
- Authors: Nock, Howard James
- Date: 1974
- Subjects: Guitar , Guitar -- Construction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2687 , http://hdl.handle.net/10962/d1012966
- Description: Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.
- Full Text:
- Date Issued: 1974
- Authors: Nock, Howard James
- Date: 1974
- Subjects: Guitar , Guitar -- Construction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2687 , http://hdl.handle.net/10962/d1012966
- Description: Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.
- Full Text:
- Date Issued: 1974
study of the personality of Franz Liszt with special reference to the contradictions in his nature
- Authors: Ensor-Smith, Beryl Eileen
- Date: 1984
- Subjects: Liszt, Franz, 1811-1886
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2691 , http://hdl.handle.net/10962/d1013323
- Full Text:
- Date Issued: 1984
- Authors: Ensor-Smith, Beryl Eileen
- Date: 1984
- Subjects: Liszt, Franz, 1811-1886
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2691 , http://hdl.handle.net/10962/d1013323
- Full Text:
- Date Issued: 1984
The musician, the philosopher and the king : an investigation into the relationship of Richard Wagner with Friedrich Nietzsche and Ludwig II of Bavaria
- Authors: Gale, Felicity Margaret
- Date: 1987
- Subjects: Wagner, Richard, 1813-1883 Nietzsche, Friedrich Wilhelm, 1844-1900 -- Influence Ludwig II, King of Bavaria, 1845-1886
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2660 , http://hdl.handle.net/10962/d1004506
- Full Text:
- Date Issued: 1987
- Authors: Gale, Felicity Margaret
- Date: 1987
- Subjects: Wagner, Richard, 1813-1883 Nietzsche, Friedrich Wilhelm, 1844-1900 -- Influence Ludwig II, King of Bavaria, 1845-1886
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2660 , http://hdl.handle.net/10962/d1004506
- Full Text:
- Date Issued: 1987
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)
- 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.
- Full Text:
- Date Issued: 2016
- 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.
- Full Text:
- Date Issued: 2016
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