Doctoral Degrees (Odeion School of Music)

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Open Access
Critical success factors enabling the financial sustainability of South African donor-funded community music development programmes
(University of the Free State, 2016) Voges, Sarah Maria (Arisa); Viljoen, Martina; Van Zyl, Johan H.
𝑬𝒏𝒈𝒍𝒊𝒔𝒉 This research study is an investigation into the financial sustainability of South African donor-funded community music development programmes (CMDPs). The aim was to identify the critical success factors (CSFs) that have enabled CMDPs to survive for more than five years. An interdisciplinary approach was followed to bridge the gap between music and business management. The literature review focused on the impact of music education on human and economic development, and explored the financial sustainability of non-profit organisations. Music education has played an important socio-economic development role for centuries, and continues to do so through the economic impact of the Cultural and Creative Industries (CCI). CMDPs nurture the employability, self-esteem and general wellbeing of marginalised youth. The cognitive, emotional and social skills acquired by playing a music instrument and participating in group music-making activities foster creativity and innovation – essential skills required in the contemporary workplace. These benefits are maximised if tuition is sustained from the ages of eight to seventeen. Music education also facilitates cross-cultural engagement, nurtures social cohesion and nation-building, and alleviates inequality and unemployment. Hence, as proposed in the National Development Plan, music and the arts have significant potential to bring about positive change and to contribute to the development of the creative economy in South Africa. However, donor-funded CMDPs have become underfunded, understaffed and unsustainable because music education remains marginalised in the current insecure political and funding environment.In the empirical investigation an emerging, exploratory qualitative research design was applied and multi-methods used for triangulation. A homogenous, purposeful sample was compiled and augmented through snowball sampling. Thirty-seven electronic questionnaires received between June and December 2015 were analysed, and the results triangulated with data obtained through seven elite interviews. Several telephone and email enquiries were also made to obtain information about the causes of the demise of defunct CMDPs. The main findings revealed that securing funding, parental involvement and community support and transport were the CSFs that determined CMDP longevity, concurring with previous conclusions reached by other South African researchers. A lack of insight into financial management best practice – aggravated by fundraising inefficiency – exacerbates the current CMDP financial hardship. Despite the commendable 40.7% of income CMDPs have secured through a combination of support from local governments, the National Lotteries Distribution Trust Fund and the national government, the need for more government support and efficiency in funding disbursements was highlighted. The efficient management of human resources to build human capacity also emerged as a key determinant of financial sustainability. To maximise the benefits of CMDPs, early childhood development and lifelong learning programmes should be implemented and the use of indigenous music encouraged to enhance intercultural learning. Harnessing the benefits of the CCI require more support from government and universities, cultural entrepreneurship and the efficient use of technology. The financial sustainability of CMDPs will be nurtured by the application of the Tuckman-Chang financial sustainability measures – notably revenue diversification – and the elements of Inyathelo’s Advancement model. By integrating multi-stakeholder relationship-building with effective governance, leadership, strategy and planning, human capacity, financial management, organisational voice and visibility, fundraising and monitoring and evaluation, CMDPs position themselves better to attract support. Improved infrastructure and asset management (transport, venues, instruments and technology), the effective management of human resources (parental involvement, staff training, succession planning and an increase in the appointment of full-time staff) and a scientific approach to fundraising will enhance the financial sustainability of CMDPs. To nurture their fundraising potential, CMDPs should invest in research and development and online crowdfunding. New business models should be explored to foster self-reliance through earned income and by embracing pivotal fundraising tools made available through recent changes in the Broad-based Black Economic Empowerment Codes of Good Practice. In conclusion, a holistic approach that nurtures relationships and speaks to the goodness, kindness and helpfulness of humanity is advocated, because it demonstrates the traditional African value of Ubuntu.
Open Access
Die ontwikkeling van klaviertegniek deur 'n toepassing van Herrmann se vierkwadrant-breinmodel
(University of the Free State, 2010-05) De Villiers, Aletta Magrietha Francina; Viljoen, Martina; Beukes, Roelf
English: As experience in private practice has pinpointed a deficiency in the teaching process dealing with the effective development of piano technique, the need has arisen to develop a learning model in which provision is made for the learning preferences of learners, and which applies an approach that is holistic and does not focus solely on the development of technical and mechanical skills. It was realized that there are divergent approaches to the concept of piano technique and its development. An extensive literature study of the following aspects was undertaken: physical and physiological aspects of relevant brain structures; mental functions necessary for piano technique, including among others a whole-brain approach, neuronal networks underlying music processing and motor control in the brain with regard to motor skills. Besides aspects of the brain, research was also done on teaching and learning models such as those of Rose and Nicholl, Kolb, Gardner, Jensen and Herrmann; existing approaches to piano technique; different methods of technique development; the physical and physiological aspects of piano technique; as well as emotional and social functions formulated in the philosophies of Kohut and Green. A literature study of factors that can influence technique was also conducted and the following divisions were identified, namely: the teacher; the environment; the teaching methods and the practice process. Interest in the fast-growing field of neurology has drawn attention to Ned Herrmann’s pioneering work in the field of brain domination. Research was done into his scientific approach which formulates that the dominance of specific parts of the brain influences the brain processes of skills acquisition with the result that preferences for certain learning processes can be identified in individuals. Herrmann developed the four quadrant brain model that metaphorically divides the brain into four quadrants, which is illustrated in a circular diagram anticlockwise as quadrants A, B, C and D. Each quadrant has unique quadrant descriptions that explain preferences, dispositions and perceptions. Individuals are therefore dominant in one or more of the four quadrants and that determines the type of teaching approach they are optimally receptive to; the manner in which they absorb information; deal with people and their attitude towards everyday life. Herrmann’s brain domination instrument (HBDI), which was developed to determine the dominance in persons (their cognitive preferences), was investigated. It comprises a questionnaire of 120 questions whose outcome cannot be predicted. Herrmann’s teaching and learning model is further important as it puts forward that the whole-brain approach to piano teaching, where information is provided in a structured and unstructured manner, is the best approach to be followed. By means of this, primary cognitive preferences are addressed and secondary preferences developed. A qualitative survey using the Delphi method was conducted at the same time. Experts in the field of piano technique associated with tertiary institutions in South Africa, as well as students at different levels of completing their music qualifications, were approached to act as respondents. Information regarding the development of piano technique, interpersonal relations and opinions concerning learning preferences was gathered and processed into meaningful divisions and subdivisions. It was realized that experts do indeed pay attention intuitively to the preferences of learners, but that a scientific foundation is lacking. Information obtained through literature study and qualitative research was meaningfully integrated to propose practical methods by means of which Herrmann’s four quadrant brain model can successfully be applied to piano technique. The completed research led to the conclusion that piano technique was a mental rather than a mechanical process and that the learners’ full potential could indeed be developed by applying Herrmann’s four quadrant brain model. But this can only materialize if the ideal teaching milieu; the ideally qualified teacher and recognition and consideration of the specific cognitive preferences of learners, within the context of the whole brain approach, are present.
Open Access
The influence of the madrigali moderni on Johann Jacob Froberger's keyboard music
(University of the Free State, 2011-11) Vinke, Linda Frances; Coulter, John Reid; Viljoen, Martina
English: The research is based upon the hypothesis that the keyboard music of Johann Jacob Froberger (1616-1667) was significantly influenced by the music of the Italian secular madrigals of the late 16th and early 17th centuries. In the late 16th and early 17th centuries, madrigal composers were at the forefront of musical development and it is plausible that their innovations should have had a significant influence on Froberger, contributing to the development of his expressive keyboard style. The madrigal composers used various new compositional techniques, many of them aimed at expressing emotions. Characteristics of the style of the madrigali moderni (a term used by Frescobaldi in the 1637 preface to Toccate e Partite, Libro Primo) include the variation of tempo for expressive purposes, word painting, new types of ornamentation, adventurous harmony, chromaticism and dissonance and quickly changing rhythmic and textural features. The aim of this thesis is to show how Froberger adapted these techniques for use in his keyboard style. In order to test the hypothesis, I researched the musical characteristics of the Italian secular madrigals of the late 16th and early 17th centuries. Some Italian vocal music other than secular madrigals was analyzed and some madrigals and other vocal music from a little earlier or a little later were also consulted. However, the vast majority of the examples that I have used to illustrate my findings come from Italian secular madrigals composed (or at least published) in the late 16th and early 17th century when the composition of madrigals was at its peak in both volume and brilliance. A detailed style-critical study of the entire keyboard oeuvre of Froberger was undertaken to determine if the various characteristics of this vocal music could be found in his music. Some of Froberger’s (Italian) predecessors on the keyboard, such as de Macque, Mayone, Trabaci, Frescobaldi and Michelangelo Rossi seem also to have been influenced by the Italian madrigalists and where appropriate, I have included examples from the works of these composers. Before the main body of the research, I have included a chapter on Froberger’s life and travels; a comprehensive collection of the information that is currently known. In recent years, some fascinating research has been undertaken that has thrown light on Froberger’s life and travels, but all the information has not previously been presented in a chronological format. The main body of the research is divided into four sections, each of which discusses a particular musical aspect of the madrigals and shows similar usage in Froberger’s works. The first of these sections discusses the use of “madrigalisms” for expressive ends. This chapter analyses some of the more commonly used word painting devices and shows their use in madrigals and in Froberger’s music. The second of these sections discusses sprezzatura in the wider meaning given to it by Caccini in his Nuove Musiche (1601/2), where it encompasses not only rhapsodic tempo fluctuations but also the use of dissonance for expressive purposes. The third section discusses the use of ornaments in the madrigals and shows how Froberger used a variety of specifically Italian vocal ornaments in his music, as well as the more standard range of ornaments used by keyboard composers. The fourth section describes the continuous invention and diversity present in the madrigals and in Froberger’s music. This invention manifests itself in, amongst other things, the use of a wide variety of rhythms and textures to portray the agitation of the passions and a delight in complexity. Within these sections, the theories of the time are discussed, examples are given from the madrigals and parallel examples are drawn from Froberger’s music. At the end of the thesis four case studies are presented to show how the hypothesis fits entire works by Froberger. Froberger’s oeuvre can arguably be divided into laments (and similar forms), partitas, contrapuntal works and toccatas. The case studies are intended to represent one of each of these forms. In each of the studies, certain aspects of the music are compared to the madrigals and parallels are drawn to extra-musical events or phenomena in order to place the particular composition in its historical and social context.
Open Access
'n Musikus in die vreemde: die lewe en werk van Arnold Bosman
(University of the Free State, 2012-11) Cromhout, Johan; Viljoen, Martina
English: Although I did not know Arnold Bosman (1957-2005) personally, I was compelled to undertake a biographical study of him. The story of his life and the fact that he, as a highly talented South African musician, had to establish himself in a foreign country amongst a strange culture, resulted in the writing of this thesis. Bosman's exceptional musical talent was evident since his childhood. During his teens he achieved outstanding results. Eisteddfod-certificates, examination results, as well as performances with various orchestras are proof of his dedication from a very young age. His musicianship manifested from this time on in a somewhat idiosyncratical personality. Bosman showed certain likes and dislikes from a relatively young age and was rather outspoken regarding certain topics of current interest. The political situation in South Africa, in particular the "apartheids" regime was but one topic which Bosman strongly opposed. These viewpoints obviously caused tension between Bosman and his parents as his father was a fervent Nationalist and also served in the diplomatic service of the South African government. This presumed complex relationship with his parents perhaps also influenced other aspects of his life. According to arguments presented in this study, certain life changing decisions could have been influenced by this complex relationship. Certain events during his life as a teenager would have had a significant influence in his life, and most probably contributed to some of the most important decisions that guided his life. Bosman's complexity had a far-reaching influence on his life. His search of a "place" where he could feel at home, as well as his own "identity", were expressed in various poems as early as his high school years. Conspicuously he never really experienced the "home-coming", not even during his adult life - except in his music where he associated himself with "place" and "time" in a significant manner. Initially it was his search for a suitable university where he could further his studies that forced him to make directive decisions. As Bosman expressed the desire to study to become a conductor during a time when there was no university in South Africa that offered studies of this nature, together with the assistance from his parents, he started investigating the possibilty of studying abroad. The decision to undertake his undergraduate studies at the University of Cape Town presented him with numerous problems. The possibility of financial assistance from the University of Cape Town to further his studies abroad made it more of a reality. This period in Bosman's life also proved to be problematic. After a short period of study in both England and Holland, he eventually decided to go to Italy where he studied at various music schools. Bosman settled in Italy in the early 1980's and for a long period of time made a living as a freelance musician. During this time many piano recitals and appearances as accompanist for singers and instrumentalists, as well as his work as an assistant conductor, provided Bosman with a reasonable income. During this time Bosman's yearning to become a full-time conductor became increasingly apparent. His longing for a career as full-time conductor also became evident in some of his letters to his parents. According to documents available for this research, it became clear that he started working regularly as an assistant conductor and sometimes appeared as conductor himself. To establish himself as a conductor in Italy, Bosman was forced to live the disruptive life of a commuter for the majority of his life. In the early 1990's Bosman was introduced to the specialist ensemble Musica Rara. His appointment as musical director and conductor of this ensemble, finally offered Bosman the opportunity to fulfil his dream. His involvement with this ensemble to perform the more rare and unknown compositions of the masters in an authentic manner, gave the main themes of his life, namely that of "place" and "time", significant meaning. The position he held with Musica Rara gave Bosman an artistic "place" ("role"/"identity") where he metaphorically could "belong" and where he as musician could flourish. Apart from his complex relationship with his parents, his strained relationship with South Africa lasted until his death. Although Bosman enjoyed significant success in Italy, he regularly investigated the possibility of performing in South Africa - as pianist, but more so as conductor - in a temporary but also in a more permanent capacity. However, he was never offered a permanent position, and there were but a few appearances during the last couple of years of his life. Because of these reasons I found it necessary to document and to put in perspective, the life and contribution of this important and internationally famed South African artist.
Open Access
'n Musikus in die vreemde: die lewe en werk van Arnold Bosman
(University of the Free State, 2012) Cromhout, Johan; Viljoen, Martina
English: Although I did not know Arnold Bosman (1957-2005) personally, I was compelled to undertake a biographical study of him. The story of his life and the fact that he, as a highly talented South African musician, had to establish himself in a foreign country amongst a strange culture resulted in the writing of this thesis. Bosman’s exceptional musical talent was evident since his childhood. During his teens he achieved outstanding results. Eisteddfod-certificates, examination results, as well as performances with various orchestras are proof of his dedication from a very young age. His musicianship manifested from this time on in a somewhat idiosyncratical personality. Bosman showed certain likes and dislikes from a relatively young age and was rather outspoken regarding certain topics of current interest. The political situation in South Africa, in particular the “apartheid” regime was but one topic, which Bosman strongly opposed. These viewpoints obviously caused tension between Bosman and his parents, as his father was a fervent Nationalist and served in the diplomatic service of the South African government. This presumed complex relationship with his parents perhaps also influenced other aspects of his life. According to arguments presented in this study, certain life-changing decisions could have been influenced by this complex relationship. Certain events during his life as a teenager would have had a significant influence in his life, and most probably contributed to some of the most important decisions that guided his life. Bosman’s complexity had a far-reaching influence on his life. His search of a “place” where he could feel at home, as well as his own “identity” were expressed in various poems as early as his high school years. Conspicuously he never really experienced the “home-coming”, not even during his adult life – except in his music where he associated himself with “place” and “time” in a significant manner. Initially it was his search for a suitable university where he could further his studies that forced him to make directive decisions. As Bosman expressed the desire to study to become a conductor at a time when there was no university in South Africa offering studies of this nature, he started investigating the possibility of studying abroadwith the assistance from his parents. The decision to undertake his undergraduate studies at the University of Cape Town presented him with numerous problems. The possibility of financial assistance from the University of Cape Town to further his studies abroad made it more of a reality. This period in Bosman’s life also proved to be problematic. After a short period of study in both England and Holland, he eventually decided to go to Italy where he studied at various music schools. Bosman settled in Italy in the early 1980s and for a long period made a living as a freelance musician. During this time many piano recitals and appearances as accompanist for singers and instrumentalists, as well as his work as an assistant-conductor, provided Bosman with a reasonable income. During this time, Bosman’s yearning to become a full-time conductor became increasingly apparent. His longing for a career as full-time conductor also became evident in some of his letters to his parents. According to documents available for this research, it became clear that he started working regularly as an assistant conductor and sometimes appeared as conductor himself. To establish himself as a conductor in Italy, Bosman was forced to live the disruptive life of a commuter for the majority of his life. In the early 1990s, Bosman was introduced to the specialist ensemble Musica Rara. His appointment as musical director and conductor of this ensemble finally offered Bosman the opportunity to fulfil his dream. His involvement with this ensemble to perform the more rare and unknown compositions of the masters in an authentic manner, gave the main themes of his life, namely that of “place” and “time”, significant meaning. The position he held with Musica Rara gave Bosman an artistic “place” (“role”/”identity”) where he metaphorically could “belong” and where he as musician could flourish. Apart from his complex relationship with his parents, his strained relationship with South Africa lasted until his death. Although Bosman enjoyed significant success in Italy, he regularly investigated the possibility of performing in South Africa – as pianist, but more so as conductor – in a temporary but also in a more permanent capacity. However, he was never offered a permanent position, and there were but a few appearances during the last couple of years of his life. Because of these reasons, I found it necessary to document and to put in perspective, the life and contribution of this important and internationally famed South African artist.
Open Access
Oorwegings by die realisering en dokumentering van ’n duet- of duo- orreltranskripsie van Fauré se Requiem (op. 48)
(University of the Free State, 2014-07-18) Beukes, Jan Nel; Viljoen, Martina; Viljoen, Nicol
English: In 2010 I was invited to take part in a performance of Fauré’s Requiem (Op. 48) in which the orchestral parts were transcribed for organ by Pawel (2000). From the outset it was apparent that the transcription would not do justice to the original aesthetic spirit of the work. Organ transcriptions are however indispensable in liturgical or concert performance contexts where a performance of the orchestral score is not possible. The availability of recordings poses significant challenges to such a transcription, as audiences, conductors and choristers are so familiar with the work – the Requiem is Fauré’s most popular and well-known piece. Thus a transcription that fails to take into account the original orchestral tonal palette will result in an unsatisfactory performance. It was for this reason that I decided to transcribe the work myself. Before the process of conceptualising a transcription in a responsible manner, one needs consider the task, and speculate upon the research question of whether Fauré himself would have opposed the very idea of an organ transcription, and also whether perhaps an organ duo or duet transcription would better serve the work. In order to answer this question in an academically justifiable manner, it was necessary to contextualise the existing transcription practise in Fauré’s Requiem in more detail. After studying and interpreting relevant literature on the subject, specific contexts pertaining to the work were construed in order to establish a framework and foundation that could support the process of transcription. To this end I focused upon aspects that were illuminated, in a concrete tangible manner, by the context wherein the Requiem gained its origin. These points of departure were, namely, historical, religious-philosophical, and also compositional-philosophical and compositional-pedagogical. This literature study was supplemented by exhaustive study of the scores of editions of Fauré’s Requiem. This framework subsequently served as the raison d’etre for the transcription as a responsible re-interpretation of Fauré’s musical clothing of the words, as a vehicle of expression of the religious text. The literature study brought to light that transcriptions were an integral part of the nineteenth-century musical milieu, and that Fauré and his contemporaries contributed to this practice without reservation, approving only transcriptions faithful to the original work. It also appeared that Fauré, especially in his liturgical music, readily accommodated diverse accompanimental possibilities, according to the instrumental resources available to him on different occasions. Although Fauré wrote no original organ compositions, he made extensive use of the instrument to accompany voices in his liturgical works. It is on this evidence that I concluded that the composer would not have objected to a responsible organ transcription of his Requiem. Unlike most of his contemporaries, Fauré was singulary disindined towards gargantuan orchestral and theatrical effects, and drawn rather to subtle nuances of colour in order to illustrate the text. Also, his liturgical compositions are noticeably shorn of secular influences. Fauré’s personal approach to the Requiem remains true to this premise, and can therefore serve as a model of the Hellenic ideals so dear to him. In order to retain the orchestral colouristic element of the original work and achieve aesthetic satisfaction in a transcription, the medium of the organ duo or duet is rendered essential, as two players are capable of handling more of these colouristic elements. In closing, it should be mentioned that the question of an organ transcription of Fauré’s Requiem (Op. 48) has not been investigated in existing literature. As such a transcription should find an indispensible role in performances of the work in smaller liturgical or concert contexts, this may justify the subject worthy of an academic study. Additionally, neither an organ duo nor an organ duet version exists, and so this study addresses that hiatus, and further contributes to the international corpus of the organ transcription repertoire. The scrupulous documentation of the process of transcription, as well as the performance and recording of this version, affords the study academic credibility, as well as verity of professional authenticity.

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