Odeion School of Music

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Open Access
'n Vergelykende ondersoek na die betekenis van die klaviersertifikaateksamens van verskillende eksaminerende liggame in die musikale ontwikkeling van die Suid-Afrikaanse klavierleerling
(University of the Free State, 1982-06) Fourie, Louie; Human, J. L. K.
Afrikaans: Die eerste hoofstuk is gewy aan 'n bespreking van die terminologie, evaluering en meting om sodoende 'n uiteindelike definisie van die begrip musiekeksamen te bepaal. 'n Eksamen word as een van die belangrikste evalueringsprosesse beskou en 'n duidelike afbakening van die begrip skyn noodsaaklik te wees ten einde die plek en waarde daarvan te begryp. Hoofstuk twee is gewy aan 'n bespreking van die oorsprong van die musiekeksamenstelsel in Suid-Afrika. Die historiese prosesse in die ontwikkeling van die musiekeksamens van die Associated Board of the Royal Schools of Music, die Trinity College of Music, London en die Universiteit van Suid-Afrika is indringend ondersoek en volledig bespreek. Die huidige sowel as die ouer leerplanne van die klaviersertifikaateksamens van die Universiteit van Suid-Afrika, asook ooreenstemmende huidige leerplanne van die Britse klaviersertifikaateksamens is bestudeer en met mekaar vergelyk. Hoofstukke drie, vier en vyf is aan die bogenoemde aspekte gewy. In Hoofstuk ses is die rol en bydrae van persone wat by die musfekeksamens betrokke is, ondersoek. Die eksaminator, onderwyser, ouer en opsiener se verwantskap met die kandidaat, en die kandidaat se streservarings ten opsigte van die eksamensituasie is van naderby beskou. Die sewende hoofstuk is gewy aan die huidige situasie in Suid-Afrika. Dit wil sê die toepassing van klaviersertifikaateksamens en die invloed daarvan op musiekonderrig soos in Suid-Afrika ondervind word, is ondersoek en verskeie gevolgtrekkings en aanbevelings is gemaak. Die laaste hoofstuk bevat 'n samevatting van die ondersoek. Algemene gevolgtrekkings is gemaak, terreine vir verdere navorsing is voorgestel en die praktiese implikasies van die studie is bepaal.
Open Access
'n Historiese oorsig van die totstandkoming en ontwikkeling van die orkesprogram in die Oranje-Vrystaat
(University of the Free State, 1983-06) Steenkamp, Gerhardus Albertus Petrus; Potgieter, J. H.
Afrikaans: Die doel van hierdie verhandeling is om 'n historiese oorsig van die totstandkoming van die orkesprogram in die Vrystaat vanaf 1960 tot 1983 daar te stel. Om effektief aan te vul by die hoë standaard klavieronderrig wat reeds lankal bestaan het, is daar in 1960 besluit om vier strykers aan te stel wat 'n kwartet sou kan vorm en ook onderrig in strykinstrumente sou gee. Die voormalige oorheersing van klavieronderrig sowel as die aanvoorwerk van belanghebbendes word bespreek. Die verloop van gebeure wat die stigting van die kwartet voorafgegaan het, word volledig gedokumenteer. Aandag word verder geskenk aan die eerste optredes sowel as die verpligtings van die kwartet. Weens teleurstellende bywoningsyfers het die Bloemfonteinse Stadsraad, een van die drie samewerkende instansies, mettertyd belangstelling in die kwartet verloor. SUKOVS, wat intussen gestig is, het aangebied om die stadsraad se verantwoordelikheid oor te neem. Die aanloop tot die oorname, asook 'n aanhaling van verpligtings, word behandel. Die bedanking van die tweede violis, die krisissituasie rondom 'n persverklaring, en die inskakeling by die Universiteit word vermeld, asook die latere ontbinding van die strykkwartet en die hersiene ooreenkoms van hulle verpligtings. As direkte uitvloeisel van die besielende werk van die strykkwartetlede en in besonder mnr. De Wet, was daar in die loop van die sestiger- en sewentigerjare 'n omvangryke strykopbloei. Die Vrystaatse Jeugorkes het ontstaan en weens die, vertrek van mnr. De Wet in 1972 gedreig om in duie te stort maar is deur prof. Chris Swanepoeloorgeneem. Aandag word geskenk aan die redes vir die stigting, die eerste repetisies en optredes. SUKOVS se oorname van die orkes, verskeie konserttoere en die besoek aan Switserland word volledig behandel. Redes vir die opbloei van strykmusiek in die Vrystaat word genoem. Aangevuur deur die suksesvolle strykprogram, is daar in 1969 'n begin gemaak met 'n blaserprogram in dié Vrystaat. Die eerste aanstellings in hout- en koperblaasonderrig word bespreek. Weens die geweldige aanvraag na blaseronderrig is verskeie dosente gedurende 1973 aangestel terwyl onderrig na ander sentra uitgebrei het. Gedurende 1974 is 'n lang gekoesterde ideaal verwesenlik deur die stigting van 'n simfonieorkes in die Vrystaat. Die talle mislukte pogings van SUKOVS voor 1970 om 'n eie orkes te stig word as aanloop tot die totstandkoming van die orkes behandel. Daar word verder verwys na die Filharmoniese Vereniging se aandeel, en prof. Swanepoel se memorandum as eerste fase van die stigting. Na die finalisering van prof. De Groote se aanstelling en die samestelling van 'n voorlopige adviserende orkestekomitee, wat onderskeidelik as fases twee en drie van oorgang tot stigting bespreek word, is die orkes finaal saamgestel. Die eerste optredes en probleme rondom opera-begeleiding word behandel. Daar word gewys op die amperse ineenstorting van die projek sowel as die oorname deur die Universiteit in 1977. Die srunesprekings voor SUKOVS se terugname daarvan in 1979 word vermeld, asook die Niemandkommissie van ondersoek na die Uitvoerende Kunste. Aandag word breedvoerig geskenk aan die stigting van 'n NARUK-orkes met die gepaardgaande implikasies vir die Vrystaat se orkesprogram. Die Pienaar-komitee van ondersoek tesame met die nuutste verwikkelings rondom die aanbevelings word volledig bespreek. Die orkesprogram is een van die belangrikste ontwikkelings op ,die gebied van musiekbevordering in die Vrystaat, aangesien dit as opleidingsbron van orkesmusici dien. Die belangrikheid van samewerking tussen die Onderwysdepartement, Universiteit en SUKOVS, ter bevorvedring van die projek, kan nie genoeg beklemtoon word nie.
Open Access
Die musiekgeskiedenis van Oos-Londen 1872 - 1922
(University of the Free State, 1985-06) Du Toit, Widor; Potgieter, J. H.; Van Schoor, M. C. E.
Afrikaans: Die bronnemateriaal van hierdie proefskrif is feitlik geheel en al geneem uit die plaaslike nuusblad, die Daily Dispatch, wat dikwels gedetailleerde verslae oor Oos-Londen se konsert-aktiwiteite gepubliseer het. Aangesien daar baie min ander stof met betrekking tot hierdie onderwerp oor die tydperk 1872-1922 bestaan, is die proefskrif dus in hoofsaak 'n breedvoerige uiteensetting en evaluering van die konsertlewe van Oos-Londen soos uit beriggewing in die Daily Dispatch geneem. Hierdie evaluering het hoofsaaklik om twee aspekte gewentel, naamlik die aard en kwaliteit van werke wat uitgevoer is, en die frekwensie van aanbiedinge binne sekere periodes en omstandighede. Bespreking het binne 'n relatiewe raamwerk geskied, met ander woorde, uitstaande teenoor minder noemenswaardige gebeurtenisse en/of tendense binne slegs Oos-Londen self se musikale milieu is in oënskou geneem. Daar is nie geëvalueer in verhouding tot meer ontwikkelde musieksentra in Suid-Afrika of oorsee in dienooreenkomstige tydperk nie. Konserte is volgens hulle musikale betekenis en aard in verskillende kategorieë opgedeel om evaluering te vergemaklik. Met hierdie indeling kon sekere tendense en riglyne makliker geïdentifiseer word. Daaruitspruitend was dit moontlik om die geheelbeeld duidelik te omskryf. Die problematiek van hierdie projek het hoofsaaklik daarin gelê dat die Daily Dispatch feitlik die enigste bron vir navorsing was, en dat dié bron se gegewens uiteraard eensydig was. Oos-Londen se konsertbedrywighede is gerapporteer hoofsaaklik met die doel om kultuur te bevorder, wat 'n mate van eensydigheid onvermydelik gemaak het. Daarbenewens het die feit dat belangrike musiekaangeleenthede slegs selde plaasgevind het (soos blyk uit hierdie bron) en die feit dat baie min ander relevante bronnemateriaal bestaan en dat persone wat eerstehandse kennis gedra het oor die periode onder bespreking reeds oorlede is, die vloei en deurlopendheid van die proefskrif bemoeilik. Deeglik bewus van die feit dat talle van die verslae deur subjektiwiteit gekleur is, dat aktiwiteite nie altyd deur persone geresenseer is wat artistieke aanvoeling gehad het nie, en dat resensente soms sekerlik bloot opbouend wou wees, is die ontwikkeling en ontplooiing van Oos-Londen se musiekgeskiedenis nie soseer aan dié gegewens gemeet nie, maar aan die konkrete gebeure. Gebeure soos onder meer die dorp se koorveniging wat na 'n lang sukkelbestaan plotseling werke van hoogstaande gehalte uitvoer, die totstandkoming van instrumentale- en vokale ensembles, en die solo-uitvoerings van gewigtige werke deur 'n amateur in 'n dorp waar konserte deur talle items van populêre aard op een program gekenmerk is, is maatstawe wat gebruik is vir beoordeling. Aanhalings en kommentaar van resensente dien meestal hoofsaaklik om die tydsgees, die benadering en musikale milieu van die periode weer te gee. Daarbenewens is die plasing van volledige programme 'n nuttige metode om die konsertgeskiedenis van die dorp meer volledig te weergee. Ongelukkig kan die afwesigheid van sommige komponiste in die programme nie verhelp word nie, aangesien die koerant nie die betrokke programme volledig gepubliseer het nie. Die proefskrif is dus 'n poging tot 'n getroue weergawe en evaluasie van die musiekgebeure in Oos-Londen gedurende die tydperk 1872-1922.
Open Access
Die ontstaan van legato soos beïnvloed deur die vervolmaking van die fortepiano
(University of the Free State, 1985-12) Bruns, Jeanette Dalina Herholdt; Human, J. L. K.
Afrikaans: Die oorkoepelende term, fortepiano, sluit die ganse familie van klaviatuurinstrumente, met snare en hamermeganiek, in. Fortepiano is die eerste Italiaanse benaming wat aan die instrument gegee is, tans in Afrikaans as klavier bekend. Toonproduksie by die klavier geskied deur middel van hamerslae op gespanne snare. Hierdie metode van toonproduksie lei daartoe dat die klavier in wese 'n slag- of perkussie-instrument is. Ten spyte van die perkussiewe aard van die klavier, word legato as een van die belangrikste speelmaniere in klaviervoordrag beskou. Legato, 'n Italiaanse begrip, beteken: musiek wat voorgedra word met 'n gladde verbinding tussen die tone en wat in musieknotasie met 'n fraseboog aangetoon word. Legato vind sy oorsprong in die middeleeuse musieknotasie (neume), legatura. Die legatura dui twee toonhoogtes, sowel as twee nootwaardes aan. Die oorsprong van die klavier kan so ver teruggespoor word as die dulcimer - 'n instrument wat in die Midde-Ooste ontstaan het. Die Pantaleon het uit die dulcimer ontwikkel en het uit 276 snare bestaan wat met hamers beslaan is. Bartolomeo Christofori het volgens oorlewering, die eerste klavier met hamermeganiek in 1709 gebou. Sedertdien is drastiese verbeterings in die instrument aangebring. Die klavier bekom sy finale vorm in 1874 met die toevoeging van die sostenutopedaal deur H.E. Steinweg. Elke klavier bestaan uit die volgende hoofonderdele: houtraam, klankbord met 'n kort en 'n lang brug, staalraam, snare wat oorkruis gespan is, hamer- en dempermeganiek (wat die pedale insluit), klawerbord en kabinet. Vanweë die bou van die klavier en die metode van toonproduksie, is daar sekere eienskappe wat legatospel bevoordeel en benadeel. Eienskappe wat legatospel in klaviermusiek benadeel is: - Die klavier bestaan uit 88 verskillende instrumente, kompleet met klawer, hamer- en dempermeganiek en gespanne snaar. - Die snare, hamers en dempers is nie identiese onderdele nie, maar word in drie registers gegroepeer. Die aanpassings in toonproduksie geskied daarom van klawer tot klawer, register tot register. - Die intensiteit van die toon is op sy grootste net nadat die snaar deur die hamer aangeslaan is. Daarna sterf die toon geleidelik weg. Legatospel word hierdeur benadeel, omdat 'n konstante geluidstroom op die klavier ontbreek. - Geraas in klavierspel word veroorsaak deur stampgeluide van byvoorbeeld die hamerkop wat teen die snaar bons. Geraas in klavierspel is te alle tye teenwoordig. Geraas benadeel die legatolyn, omdat dit verdere onderbrekings in die geluidstroom veroorsaak. Eienskappe wat legatospel in klaviermusiek bevoordeel is: - Pedaalgebruik maak simpatieke vibrasies moontlik. Sodoende word die toonduur verleng en 'n langer toonduur bevoordeel legatospel. - 'n Nie-perkussiewe aanslag bevoordeel legatospel. Die nieperkussiewe aanslag geskied wanneer geraas tot 'n minimum verminder word. Dit geskied deur klawerneerdalings voor te berei deur middel van 'n elastiese polsgewrig. Nie-perkussiewe aanslae het klein toonintensiteite en lang toondure tot gevolg. - Legatospel word ook bevoordeel wanneer die korrekte klawerneerdaling met die tydsverloop tussen klawerneerdalings gekoërdineer word. Die akoestiese eienskappe van legatospel is nie slegs veronde aan die onderdele van die instrument nie, maar ook verbonde aan die geslote area soos die konsertsaal waar klavieruitvoerings plaasvind. Klank wat in so 'n geslote area geproduseer word, word op twee verskillende maniere deur die luisteraar waargeneem: direk en indirek. Die indirekte klank word talle kere weerkaats en beinvloed legatospel ten sterkste. Om legatospel korrek waar te neem is dit ook noodsaaklik om die anatomiese en fisiologiese werking van die gehoororgaan en fisiese speelapparaat (hand en arm) van nader te beskou. Ten slotte word legatospel in styltydperke beskou. Die stylgebondenheid van legatospel is 'n kulminasie van al die voorafbespreekte fasette van die begrip, legato.
Open Access
'n Bespreking van liturgiese orrelmusiek, bande 1 tot 6
(University of the Free State, 1990-06) Groenewald, Wilna; Conradie, E. M.
Abstract not available
Open Access
Die waarde van algemene leerteorieë vir die klavieronderwyser met spesiale verwysing na die omlyningsmetode van Abby Whiteside
(University of the Free State, 1990-11) Van Zyl, Elsa Johanna; Human, J. L. K.
Afrikaans: Die verhandeling word ingelei deur 'n probleemstelling waarin die redes vir en metode van navorsing uiteengesit word. Hoofstuk een word aan 'n historiese oorsig van klavierpedagogiek gewy. Daar word gepoog om aan te dui hoe uiteenlopende faktore klavieronderrig en -tegniek beïnvloed het. Die ontwikkeling van die klavier as instrument en die opkoms van virtuositeit in die 19de eeu het In belangrike rol gespeelom onderrigmetodes te beïnvloed. Die bydraes van bekende klavierpedagoë word kortliks bespreek. Hierby is die vroeë klawerbordspelers, die Weense skool van klavierspel en die meer tegniese benadering van die vorige eeu ingesluit. Denkrigtings in die twintigste eeu wissel van oorbeklemtoning van die speelapparaat tot die ontdekking van die rol van die brein in klavierspel. Hedendaagse pedagoë streef na 'n gebalanseerde benadering wat uit die kennis van die verlede sowel as nuwe bevindings put. Hoofstuk twee is 'n bespreking van toepaslike opvoedkundig-sielkundige beginsels. Namate kennis van die leerproses toeneem, behoort onderrigmetodes ook te verbeter. Die doelstellings van klavieronderrig word in oënskou geneem, asook die vereistes wat aan 'n klavieronderwyser gestel word. Aangesien die meeste hedendaagse leerteorieë uit bekende denkrigtings ontwikkel het, word 'n kort historiese perspektief van opvoedkundig- sielkundige beginsels gegee. Faktore wat die leerproses beïnvloed word bespreek. Daar word ook kortliks aangetoon hoe algemene leerbeginsels op die leerprosesse van klavierspel van toepassing gemaak kan word. Die bydraes van enkele prominente opvoedkundiges word ingesluit. Hoofstuk drie beskryf die metode van omlyning van die vorm ("outlining") wat deur 'n Amerikaanse pedagoog Abby Whiteside ontwikkel is. Sy het bevind dat 'n gebrek aan 'n geheelbeeld ('n totale klankvoorstelling) die oorsaak van baie pianistiese probleme is. Hierdie oortuiging kom ooreen met die Gestalt-teorie, wat in die vorige hoofstuk as 'n belangrike leerbeginsel uitgesonder is. Whiteside se aanwending van die omlyningsmetode by die aanleer van In aantal Etudes van Chopin word uiteengesit. Haar houding jeens tradisionele klavieronderrig word ook in oënskou geneem. Hoofstuk vier is 'n evaluering van Abby Whiteside se omlyningsmetode. 'n Aantal klavierleerkragte is gevra om die metode met leerlinge op die proef te stel. Deur middel van 'n vraelys is verslag van die leerlinge se vordering gedoen. 'n Hele aantal insiggewende bevindings het uit die ondersoek geblyk. Daar is tot die gevolgtrekking gekom dat dit die moeite loon om kennis te neem van die ontwikkeling op die gebied van die opvoedkundige sielkunde. Nuwe onderrigbenaderings kan met vrug op die proef gestel word.
Open Access
'n Kritiese ontleding van 'n basiese orreltegniek: 'n uitbouing van bestaande benaderings met besondere klem op sistematisering
(University of the Free State, 1990-11) Lamprecht, Gideon Pieter; Zondagh, S. C.; Human, J. L. K.
Afrikaans: Die Suid-Afrikaanse orrelopleiding het reeds vir etlike jare deur die bydraes van 'n groep pedagoë hoogstaande standaarde bereik. Dit is egter nie 'n algemene tendens nie. Eerstejaarstudente aan universiteite lewer jaarliks bewys van 'n swak gevormde klaviertegniek wat gedeeltelik of as geheel gewysig of verander moet word. Dit het direk 'n nadelige invloed op orrelonderrig. Verskeie redes vir onbevredigende standaarde is aangetoon. Na jarelange musiekopleiding op skool en universiteit is daar steeds talle studente wat nie die basiese beginsels van tegniek verstaan of bemeester het nie. 'n Musikale voordrag is slegs moontlik wanneer tegniese probleme opgelos is. Talent en fisiese bekwaamheid het egter ook beperkings. Baie musiekstudente kan volgens die vereistes van musikaliteit as onmusikaal beskou word. MateriaaI vir kIawerbordonderrig toon 'n Iangsame proses oor vier eeue vanaf 1320 tot 1750. Ná 1800 het 'n groot aantal klavier- en orrelmetodes verskyn, maar wat oor die aIgemeen as waardeloos, verouderd en subjektief beskou word. Musiekonderrig het 'n veel breër doel as om slegs 'n instrumentale speeltegniek aan te leer. Leerlinge word soms te maklik as talentloos beskou as verskoning vir ondoeltreffende onderwys. Die invloed wat die onberekenbare belang vir musiekonderrig. Musiekstudente word nie spesifiek hierin opgelei met die oog op hulle onderwysberoep nie. Suksesvolle interpretasie is nie 'n vaardigheid wat sonder daadwerklike vorming bereik word nie. Die wese en aard van interpretasie word nie altyd deur onderwysers en leerlinge begryp nie. Ondervinding, begrip en natuurlike talent is noodsaaklike vereistes vir interpretasie. Die rol wat fisiese en psigiese prosesse speel is soos in die speeltegniek, ook vir interpretasie van groot belang. 'n Te groot aantal studente aan universiteite besit te min musikale en tegniese vermoëns om te voldoen aan die vereistes wat interpretasie stel. 'n Student wat nie 'n betroubare interaksie tussen impulse vanaf die brein na spesifieke spiergroepe besit nie, kan nie 'n goeie tegniek opbou of 'n stylgetroue interpretasie lewer nie. Ten opsigte van Barok-artikuIasie vertoon Suid-Afrikaanse pedagoë 'n agterstand teenoor pedagoë in Wes-Europa waar dit reeds aIgemene praktyk is. Talle pedagoë en hulle leerlinge gaan voort om negentiende eeuse beginsels op musiek uit die Barok en vroeëre styltydperke toe te pas. Barok-artikuIasie is nie sonder 'n studie en toepassing van outentieke vingersetting stilisties getrou nie. Klavier- en orrelpedagoë behoort enerse benaderings te huldig oor basiese aspekte van klawerbordspel. Musici is dikwels nie in 'n wetenskaplike ondersoek van anatomie en fisiologie geïnteresseerd nie. 'n Kennis en die koordinering van fisiese speelapparate is noodsaaklik, anders word ou, gevestigde wanopvattings moeilik uit die weg geruim. Alle tegniese werk moet direk met musikale toepassing gekombineer word anders het dit geen nut nie. Eindelose vingeroefeninge kan nie 'n oplossing bied vir studente wat nie voldoende aanleg besit nie. Bestaande orreImetodes kan nie sonder voorbehoud gebruik word nie. 'n Kombinasie van van Gleason, Peeters, Dupré en die Germani, uitgebrei oor klaviertegniek, oorspronkIike bydraes, toespitsing op voorbeelde uit die orrelrepertorium en 'n kennis van alle aanverwante aspekte van musiek word aanbeveel. In die studie figureer die orrelmetodes van Gleason en Peeters sterker as dié van Dupré en Germani. Tegniese aspekte uit orrelmetodes moet op 'n sistematies geordende wyse aangebied word. Hierdie studie het gepoog om 'n objektiewe interpretasie van elke faset van tegniekvorming te bied. Alle fases van tegniekvorming wat onderrigbaar is moet met kennis, entoesiasme en doelgerigtheid uitgebou word. Dit moet egter altyd die einddoel van 'n musikaaI-geïnspireerde vertolking nastreef in 'n poging om iets van die geheimenisse van musiek te ervaar. Tegniek mag nie 'n losstaande doel wees nie.
Open Access
'n Konsepplan vir groeponderrig in viool en altviool vir trappe 1 tot 3 vir buitekurrikulêre musiek van die Departement Onderwys en Kultuur
(University of the Free State, 1995-06) Van Niekerk, Anna Maria; Ackerman, B. B.
English: The changing situation in the new South-Africa in which education is compulsory by legislation for all race groups between the ages 6 and 16 resulted in an unprecedented educational boom with a dramatic growth of pupils who must be accommodated. Under these circumstances the music tuition is much in demand. Music tuition has been traditionally conducted in the pupil-teacher ratio of 1: 1. New options must be found to accommodate the growing numbers and group teaching seems to be the logical answer. Group teaching however, must be regarded as complementary to individual teaching, rather than a substitute there-of. For the purpose of group teaching, pupils must be carefully selected in order to ensure that they conform to the minimum requirements for music tuition. The numerous technical points which must be taken into consideration when teaching a stringed instrument, necessitate the groups being restricted to six beginners or ten more advanced pupils. The group situation must never be applied rigidly. Flexibility must be retained, enabling the more gifted pupils to advance from one group to another. The concept plan for group teaching for beginner string players, the outcome of this research, is based on a holistic approach which provides for musical edification over a broad spectrum and which addresses the different components of music, namely technic, aural training, sight reading, theory, general musical knowledge and repertoire. During the lessons at least ten minutes must be devoted-to each section. The success of the presentation of a lesson is largely dependent on the availability and application of suitable teaching aids. The commitment of the teacher is another important factor. Within the framework of the group he must be able to treat each pupil as an individual. In chapter 9 a number of tutors, suitable for beginners are discussed. There are, however numerous other tutors available from which the teacher can make a selection. The resourceful teacher will always be on the lookout for new material, ensuring that the lessons do not degenerate into stereotyped repetition. Of special importance is the reading corner, with books covering different aspects of music, thus enabling the pupils to become acquainted with these aspects of music in an informal way. This integrated plan for group music teaching presented with the necessary consideration, know-how and enthusiasm can result in a most enjoyable experience. The researcher is convinced that it can make a major contribution towards furthering music literacy in South Africa and concurrently cultivate a love for music amongst the vast numbers of children previously excluded from such activities.
Open Access
Training music teachers for multicultural education in South Africa
(University of the Free State, 2000-05) Dzorkpey, Theodore Kwadzo; Heunis, G. J. L.
English: The acknowledgment and appreciation of diversity in South Africa can only come about if all racial and ethnic groups of the nation are able to understand the similarities that bind them and the differences that distinguish them as entities of one (rainbow) nation. In this regard, the role of education is primo facto. Thus, the need for a paradigm shift to multi cultural education cannot be overemphasized. Music education, which still relies to a large extent, on Euro-centric attitudes and principles, has to redefine its purposes and principles to reflect multicultural dynamics of world musics. Couple with the multicultural demand in education in this country are the demands of OBE and curriculum 20005. With regard to these demands and the phenomenon of globalisation, a curriculum framework for training music teachers for Multicultural-outcome-based education in South Africa has been proposed.
Open Access
Gospel rap and ideology: exploring new paths in critical musicology
(University of the Free State, 2002-11) Viljoen, Martina; Visagie, P. J.; Van den Berg, D. J.
Afrikaans: ARL 991 Vraagstukke van musikale betekenis: 'n ideologie-kritiese benadering Onlangse modelle van musikale betekenis, verteenwoordigend van verskillende dissiplinêre perspektiewe, wissel van semioties/ strukturalisties en semioties/stilisties tot wat as "Nuwe musikologiese" of "postmoderne" modelle getipeer moet word. Hierdie benaderings, wat toenemend gekonfronteer word deur kontekstuele dimensies van musikale betekenis, loop dikwels uit op eensydighede wat 'n spesifieke sosio-historiese of kulturele agenda ooglopend propageer. In die geval van die semioties/stilistiese.-paradigmas, beweeg selfs uitgebreide teorieë oor musikale betekenis nie beduidend verder as die "outonome" teks nie. Terwyl hierdie benaderings die musikale teks óf isoleer óf oorbelas, slaag dit nie daarin om musiek toereikend te tipeer nie. Musiek blyk immers 'n veelkantige, komplekse ideologiese vorm te wees wat gegrondves is in uiteenlopende en ingewikkeld verweefde implikatiewe kontekste wat sowel met die produksie as die resepsie van die teks in verband staan. Na aanleiding van Johan Visagie (1990 & 1996) se benadering tot ideologiese kultuur wil hierdie artikel die grondslae blootlê van 'n inklusiewe analitiese model wat 'gebaseer is op 'n spekulatiewe, dog beredeneerde interpretatiewe ontwerp vir die teoretisering van die verhouding tussen simboliese (semiotiese) inhoud en diskursiewe sosio-kulturele kontekste, sonder om die belang te ontken van ander perspektieweIkontekste wat deel van 'n "argeologie van diskoers" vorm. ARL 992 "Verpak": ideologiese stelling en figuratiewe betekenis in gospel rap As deel van die kritiek teen die universalistiese aansprake en meester-narratiewe van modernisme wat dominante sosiale ordes en magstrukture beskerm, is daar binne onlangse musikologiese studies 'n toenemende bewustheid van die verskillende ideologiese kragte wat deur die musikale teks verswyg word. Terwyl hierdie insigte aanleiding gee tot 'n aansienlike verbreding van die musikologiese agenda, laat verklarings van die ideologiese fenomeen soos toegepas binne 'n sosiaal-gerigte analise van musikale betekenis nóg ruimte vir 'n gesofistikeerde formulering van sosiale kritiek, nóg vir subtieler vorme van diskoers analise. Dikwels berus konstruksies van ideologiese mag op verskraalde, basiese modelle van magsverhoudinge wat op die musikale teks en konteks geïmponeer word. In hierdie artikel word beoog om die toepassing te demonstreer van noorkoepelende ideologie-kritiese raamwerk wat ontwerp is om 'n omvattende en gedifferensieerde verslag te lewer van kragte aanwesig binne ideologiese kultuur. Gebaseer op Johann Visagie se "Ideologiese Topografie van Moderniteit" (ITM) word hierdie kartering van ideologiese kultuur verder uitgebrei met 'n afsonderlike dimensie van Visagie se model, naamlik 'n figuratiewe semiotiek van ideologiese diskoers. Hierdie teoretiese skema word gedemonstreer aan die hand van 'n uitgebreide analise van 'n prototipiese voorbeeld, WRAPPED UP deur die gospel groep Dawkins & Dawkins. As metafories middelike handeling van kontemporêrreligieuse betekenis, word hierdie voorbeeld van gospel rap ontleed as 'n direkte dog komplekse manifestering van strukturele dubbelsinnigheid. ARL 993 Ideologies gekompromitteerde diskoers: tussen ghetto en woestyn Aan die hand van Ricoeur se hermeneutiese "ompad" via die onthullende mag van mite, simbool en narratief, word daar in hierdie artikel gestreef na 'n meer omvattende verstaan van identiteit. Laasgenoemde word bemiddel deur die interpretatiewe perspektiewe van ideologiekritiek en figuratiewe analise, hier aangewend ter formulering van 'n oorspronklike lesing van die gospel rap teks. As deel van die ghetto/woestyn tema word prominente argetipiese figure, verwant aan posture karakteristiek van die menslike bestaan, ondersoek. Via 'n kontekstuele, intermediale lesing van musikale parameters word die narratiewe strekking van die rap lirieke !lg-!!1terpreteer, en trouens her-figureer. Hierdie benadering beklemtoon musiek se rol as 'n- sosiale simboliese proses wat betekenis performatief kommunikeer, skep, kritiseer of selfs transformeer. Dit openbaar terselfdertyd musiek se vermoë om te funksioneer as 'n dinamiese middelganger tot die instandhouding of omverwerping van sosio-religieuse "wêrelde" en "wêreldbeskouïngs". Hierdie metode stem ooreen met Ricoeur se "narratiewe hermeneutiek" wat gebaseer is op 'n altyd hernieude interpretasie van simboliese gebeure binne die wêreld van die teks. ARL 994 Stad van engele: posturale perspektiewe op 'They all fall down' Vanuit die raamwerk van Johann Visagie se benadering tot ideologiese kultuur word die figuur van die engel in GRITS se "They All Fall Down" ontleed as deel van 'n kompleks van inter-verwante sosio-kulturele diskoerse. In hierdie verband word die funksionering' van engele bestudeer as 'n nuwe arbeidsproses wat die dra van boodskappe behels, en waarin die bestaan erken word van sowel die donker engele van ideologie as die apokaliptiese engele van die geskiedenis. Via 'n figuratiewe semiotiek van ideologiese diskoers word die engel verder bestudeer as 'n semiotiese konfigurasie wat ideologiese betekenis deurgee. In hierdie opsig word metaforiese posture, tipies van eksistensiële gebeure wat herhalende patrone van die menslike kondisie simboliseer, in verband gebring met 'n spektrum van argetipiese figure in hierdie teks. Morbiede beelde, spesifiek aangewend binne die visuele en verbale parameters van die video, demonstreer dat produkte van die massa-media as "kaarte van realiteit" mag funksioneer. ARL995 Ideologie en tekstualiteit: representasies van 'Nuwe' Suid-Afrikaanse musikologie Aan die hand van Ricoeur se konsep van die teks gaan hierdie artikel uit van die hipotese dat enige poging om die verhouding tussen musiek en samelewing te bepaal, wesenlik filosofies in aard is. Soos talle ander kategorieë is die grense van "die musikale" onderhandelbaar en vloeibaar, en dit kan (goedskiks) op verskillende maniere bepaal word. Kultureel verwant en kultureelonderhandel is sodanige spekulatiewe konstrukte egter relatief tot empiriese gegewens wat deur intra-tekstuele parameters voorgestaan word. 'n Kritiese bevraagtekening van interpretatiewe standpunte wat 'n polities oorbelaste terrein soos post-apartheid Suid- Afrika ondersoek, belig openlik ideologiese posisies binne die huidige musikologie. As 'n komplekse voorbeeld van 'n spesifiek Suid-Afrikaanse teks-konteks konstruk bied Bongo Maffin se inheemse kwaitolied, "Kung' a khona" ("Die Weg") aansienlike uitdaging aan ontleding. Pogings om dit toe te lig roep interpretatiewe kontekste op wat ons met fundamenteel hermeneutiese vrae konfronteer, en terselfdertyd die grense van 'n transformatiewe identiteitspolitiek deurpeil.
Open Access
The role of emotional intelligence in music performance anxiety
(University of the Free State, 2005) Jansen van Rensburg, Magdalena Petronella; Viljoen, M.; Grobler, A. A.
The aim of this article is to provide a theoretical frame of reference for Music Performance Anxiety (MPA) and Emotional Intelligence (EI) through an investigation of existing theories concerning the two constructs. The most prominent approaches to the development of MPA are discussed, followed by the different theories concerning EI. Tangential points between MPA and EI are then highlighted. The article is underpinned by the hypothesis that EI is a cognitive-positive way of processing emotions and that it can be used to the advantage of musicians. While the progress of the EI paradigm has been impressive, much remains to be explored.
Open Access
Laat-styl by J. S. Bach en Beethoven aan die hand van die "Goldberg" en "Diabelli" variasies
(University of the Free State, 2005-11) Lamont, Anne Francoise; Muller, S. J van Z.; Viljoen, N. G. J.
English: In this lecture LAAT-STYL BY J. S. BACH EN BEETHOVEN AAN DIE HAND VAN DIE “GOLDBERG” EN “DIABELLI” VARIASIES 'lateness' is examined as a concept via Adorno. Time and narrative are placed as the main elements in two of the greatest sets of variations in the piano repertoire. The lecture demonstrates similarities and differences between two very different compositions and the aesthetics of closure and ending. 'Lateness' is portrayed as inherently present in these works as a vehicle to illustrate the composers in their most mature utterances. The integrity of their musical language is shown to be realised by the relevant definition of 'lateness'. The lecture demonstrates the combination of performance and intellectualisation in a unique way and strives to combine the different disciplines as a balancing act and one in which both complement the other.
Open Access
Die lewe en werk van Gabriel Gideon Cillie (1910-2000) in kultuurhistoriese perspektief
(University of the Free State, 2006-11) Erasmus, Joanita; Viljoen, M.
English: This study aims to outline the life and work of Gabriel Gideon Cillié (1910-2000). In his lifetime Cillié was an authority in the fields of Mathematics and Astronomy. He also made a particularly meaningful contribution to the development of the South African culture historical domain, as a choir master and organist, as an arranger of religious choir music and folk songs, and also as a cultural leader. The methodological framework of this project is underpinned by the systematic biographical model. In this respect, the (conservative) point of departure is that the documenting of Cillié’s life and work should be based as accurate a report of the available data as is possible. Although no claim is made to factual infallibility, or to the fact that the construction of Cillié’s persona as presented here is the only, or last, ‘word’ on the topic, this work represents a selective exploration of material not otherwise researched. Two of the appendixes provide a systematisation of his legacy that could serve as a springboard for further research. Concerning the chapters on Cillié's culture-historical contribution, the most important conclusion to be drawn is the fact that, despite certain critical reservations, he significantly contributed to the history of Reformed church music in South Africa. Seen against the background of the economic recession which affected church music in the Afrikaans-speaking Reformed churches during the 1930s, the importance and timeliness of this contribution is particularly evident. By means of extensive research on his part, which resulted in public lectures, letters in journals and newspapers, as well as through numerous popular and popular-scientific publications, Cillié did much to establish an awareness of the necessity to preserve this particular cultural legacy. Related to these activities, it has been found that he contributed much to the building and renovation of pipe organs within the Afrikaans Reformed community. In many churches throughout the country there are organs designed, and, in most cases, also inaugurated by Cillié. This contribution he provided free of charge at a time when there were few other people in the country to take the lead in this regard. As the choir master of the Stellenbosch University Choir and the choir of the DR Mother Church, Stellenbosch, and as the founder of both the choir of the Theological Seminary and of the Stellenbosch Student Song Festivals, Cillié made his mark within South African choral culture. As a composer and arranger he enriched the Afrikaans choral repertoire. With the exception of his seven cantatas, Cillié did not produce large-scale compositions, but, in the arranging of music, he may be regarded as one of the most productive arrangers in our country active during the twentieth century. As a result of his intense interest in things historical, he also collected and notated a substantial collection of ‘liederwysies’ (archaic hymn tunes) – which, in itself constitutes a most valuable cultural legacy: even today, his work on the origins of the Afrikaans hymns is an important reference work. The scope of Cillié’s leadership within the ambit of the Afrikaans cultural organisations is reflected in the fact that, for a considerable time, he held key positions in several committees, and also received an exceptional number of awards and merits for his contributions. On the personal level, too, Cillié lived with great distinction. He was highly respected as a colleague and is remembered with great warmth and appreciation. The members of his immediate family members depict him as a disciplined and hardworking spouse and father whose dedication to his task sometimes involved painful sacrifices – but who, at the same time was firmly committed to family life. Against this background, the image of Cillié, as constructed in this study, is one of having exceptional talent, and of living a life of sustained dedication to the ideals for which he stood. His contribution was influential and formative within his own lifetime, and its importance, even when making allowance for certain critical reservations, cannot be denied.
Open Access
Choral techniques for children's choirs: a qualitative approach
(University of the Free State, 2008-11) Verster, Huibrecht; Viljoen, M.; Niemann, R.
English: Children's choirs gained recognition during the twentieth century as an acclaimed category in Western choral music. This choral category's subsequent dynamic evolvement has brought to the fore the need to broaden the knowledge of specialised rehearsal and conducting techniques, especially in view of its internationally competitive nature. As part of the growing body of knowledge in the field, conductors have contributed to the development of the instrument through the design of didactic methods generating specific artistic results. The evidence of studies on the topic, and in particular, the lack of qualitative data, highlighted the need to systematically investigate and document all music-technical foundations of children’s choral singing as practised by leading conductors in the field. It is the aim of this study to explore a range of theoretical, practical and didactic issues by way of a qualitative investigation. In order to contribute to the body of knowledge on the development of the vocal instrument of children, and to provide a substantive framework for conducting methods generating specific artistic results, this study documents the responses of a number of world-renowned conductors of children’s choirs. The study is introduced by a brief overview of the historical background to the evolvement of the children’s choir. In this regard it has been found that the remarkable development of this choral category during the course of the last century was stimulated in particular by various inputs from the educational and compositional field, from which a unique choral pedagogy for children that included both voice skills and voice health training was realised during the 1980s. It also became clear that conductors contributed considerably to the evolvement of this choral category by means of their active engagement with the field, and by disseminating experience and knowledge through publications, symposia and workshops. A literature study first examined general aspects of choral directing, which were then particularised in terms of the children’s choir. A qualitative study followed that documented the views of various renowned conductors, which amplified the preceding literature findings on certain techniques the conductor should apply to build the child’s voice expertly as an instrument of musical excellence. The data chapter not only reiterated the important role of the conductor, but confirmed that the conductor's role extends beyond the musical director's function to that of nurturer and educationalist, which also includes a strong psychological dimension. It was made clear that the role of the conductor is vital already during the auditioning and repertoire selection processes, where the potential success of the choir originates. The musical ability of children carries more weight than the quality of an individual voice, and therefore has to be assessed in a variety of effective ways. It was also stressed that the repertoire for this choral category has to be suitable for children, taking into account aspects such as level of performance, language and cultural background, as well as musical variety. The findings showed a strong correlation between the literature and the qualitative data, although the latter provided a rich individualistic account. It was clear that choral techniques for this instrument should be holistic in approach, starting with the body posture and working towards the creation of a desired homogeneous choral sound through touching on numerous physical and psychological aspects. As part of this process, the conductor needs to focus on elements of choral sound such as relaxation, breathing, registers, vowels, phrasing, legato singing, pronunciation, articulation and agility, resonance, pitching and intonation. Finally the study offered recommendations for present and future conductors of children’s choirs to enhance this art form, and extend the excellence of this type of choral singing at national and international level.
Open Access
Musical memory and musical analysis: strategies for the memorization of selected tonal piano compositions
(University of the Free State, 2008-11) Froneman, Anchen; Viljoen, N. G. J.
English: Memorization plays an integral part of musical perfromance practice, especially as it is generally expected of pianists to memorize works for public performance. Since music is a temporal phenomenon, it relies completely on our ability to store and relate information relating to music. Yet despite this prominence of musical memory, certain hiatuses remain within the existing literature on the topic. Although some authors emphasize the importance of musical analysis, a clear explication of its importance and role in the memorization process is lacking, and strategies for the development of effective memorization are not adequately outlined. The study therefore proposes that specific focus areas and principles of analysis, combined with the organization and logic of music, will complement and promote the functioning of the musical memory system. With regard to the analysis of tonal music and to analytical orientation, the study draws on the ideas of Heinrich Schenker, especially his notion of tonal music as a system of internal coherence which allows the analyst to understand its distinguishing features, transformation of ideas, and the logic of its motivic activity. This study thus investigates literature on memory, musical memory and musical analysis to find common ground for the development of analytical strategies for memorization. These strategies propose an interactive system of analytical acts and focuses based on the association or relation of material within a composition. The analytical strategies range from the classification of material to the uncovering of compositional design and logic through analytical interpretation. The application and functionality of these strategies are illustrated in four analytical case studies involving four selected tonal piano compositions from the 18th and 19th centuries. The strategies not only demonstrate the compatibility and cross-fertilisation of analytical and memory processes, but also enable performers to comprehend a composition in terms of its coherent structural content, its distinguishing tonal features, as well as its design and logic. In so doing, effective and reliable memorization is ensured.
Open Access
The Chewa art of drumming and its influence on modern Malawian music
(University of the Free State, 2009-05) Nthala, Grant Macloly Moloko; Huyssen, Hans
English: Traditionally appropriate Chewa dance performances require specialized performers: singers, hand-clappers, organizers, dancers and drummers. As performers of Chewa dances grow into the necessity of surviving rival challenges and presumably malicious mysterious attacks Chewa music and dance is strongly associated with ritual, mystery, and enigmatic expression. While various dances often share common features – for example, songs are sometimes transferred from one dance to another with only slight changes in tempo; dance movements may be similar in a related family of dances; and the basic Chewa hand-clapping pattern is a general characteristic – it is the accompanying drumming rhythms that determine each dance‟s unique identity. Since the drumming is thus the key distinguishing factor it is regarded as the essence of the dance in Chewa communities. It helps articulate the purpose for which dance music is made; it contributes to the expression of cultural values through its performance; and it contains intrinsic dogmatic information on Chewa social structures, time and again bringing them home to both the performers and the audience. The drum mobilizes the people to a dancing event, unites the communities through the place that it takes, and symbolically represents the people‟s sovereignty. The drum is the centre of every performance and it is jealously preserved to remain such. Mystic forces and beliefs are involved in its construction, preservation and performance. According to the indigenous Chewa people this ensures success and protection of both the drumming or the drum and the dancers. Adopting the approach of musicology and ethnomusicology, this dissertation discusses the role played by indigenous music in Chewa societies with focus on drumming as an important element in the making of such music. The discussion describes the process of drum making and its application to the main Chewa dances. From personal background, experience, and a close compassionate vantage point I attempt to describe in detail and contextually the intricacies of three important Chewa dance forms – Gulewamkulu, Chimtali and Mganda – as media for the drumming expression. The study furthermore narrates the history of the Chewa ethnic group as well as its social structure, and how the drumming art is transferred both within and outside the indigenous Chewa communities. The study attempts to open up a previously rather obscure field of research and inspire and facilitate further investigation into the material. It relies on published and unpublished books and theses, field research aimed at obtaining information not covered in the publications, audio-visual recordings, and discussions with other researchers who have interest in Chewa culture and music.
Open Access
The raised fourth in Leonard Bernstein’s West Side Story
(University of the Free State, 2010) Viljoen, Nicol; Visagie, Johann
English:This article traces the functions and applications of the raised fourth-scale degree in Leonard Bernstein’s West Side Story against the background of the work’s precarious positioning between a Broadway musical and a modern opera. It attempts to demonstrate how the raised fourth operates in a variety of ways as a coherent tonal motive with distinctive tragic undertones. While it relates the main songs and musical sequences to one another, it also effects a poignant relationship between the lyrics, music and dramatic action. In this regard it represents a powerful instance of musical symbolism, its tragic quality being closely intertwined with the story’s disturbing theme of gangsterism.
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
After universalisms: music as a medium for intercultural translation
(University of the Free State, 2012) Viljoen, Martina
English: Postmodernity is characterised by the fundamentalisation of plurality. As Aleida Assmann (1996: 99) finds, difference is affirmed in the form of deviance, gaps, and radical alterity. Within this intellectual milieu, the acknowledgment of alterity and the acceptance of difference have become foremost ethical claims (Assmann 1996: 99). Appropriating the thought of Goethe, she finds that the emphasis shifts from the embrace of the One to an encounter with the mode of the Two (Assmann 1996: 100). This encounter is marked by awe and surprise, but also by the shrouding of each of the Two as if cloaked in eternal solitude. The question posed in this article is whether Assmann’s viewpoints may enhance a reading of a work from the South African art music repertoire, Hans Huyssen’s Ciacona & Tshikona (2007). Engaging with a broader selection of viewpoints on cultural translation, it is asked whether Assmann’s (1996: 99) notion of otherness is a productive context for mediating a meaningful encounter between cultures and whether, as such, it is relevant to an interpretation of Huyssen’s work. A speculative interpretation of Huyssen’s Ciacona & Tshikona reveals that the work is suggestive of a complex heredity being translated into an ‘impure’ new South African contextuality.