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
An historical survey of the organs, organists and music of St. George's Cathedral, Cape Town, from 1834 to 1952
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
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
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
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
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
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
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
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
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
Mozart and the language of contrast : a study of four early piano concertos
- Correia, João Eduardo de Jesus
- Authors: Correia, João Eduardo de Jesus
- Date: 1987 , 2013-04-04
- Subjects: Mozart, Wolfgang Amadeus, 1756-1791. Concertos, piano, orchestra
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2668 , http://hdl.handle.net/10962/d1006863 , Mozart, Wolfgang Amadeus, 1756-1791. Concertos, piano, orchestra
- Full Text:
- Date Issued: 1987
- Authors: Correia, João Eduardo de Jesus
- Date: 1987 , 2013-04-04
- Subjects: Mozart, Wolfgang Amadeus, 1756-1791. Concertos, piano, orchestra
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2668 , http://hdl.handle.net/10962/d1006863 , Mozart, Wolfgang Amadeus, 1756-1791. Concertos, piano, orchestra
- Full Text:
- Date Issued: 1987
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
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
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
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
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
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
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 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