Doctoral Degrees (Odeion School of Music)
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Item Open Access The application of a seamless learning approach in the year 9 of the LGR-22 music curriculum using the SLED framework: a case study(University of the Free State, 2024) Coetzer, Johannes Stephanus; de Villiers, Frelét; Hambrock, HelgaDespite numerous studies on seamless learning in education, little is known about its application in music education. In this study, I deal with a gap in the literature on the application of a seamless learning approach in the Year 9 LGR-22 Music Curriculum at a primary school in Stockholm, Sweden. To meet the differentiated needs of 21st-century students, a traditional music curriculum was modified using the Seamless Learning Experience Design (SLED) framework. A qualitative case study was used, including classroom observations, semi-structured interviews (with 13 students), end-of-lesson questionnaires (50 students) and end-of-unit reflective questionnaires (181 reflections). To consolidate my findings and develop a coherent narrative, thematic coding together with an inductive approach was used to categorise the themes within the qualitative data. The data analysis indicated that the seamless learning approach offered a range of advantages that allow for a personalised learning experience for students. In this research, I attempt to indicate the significance of teaching and learning approaches in catering to students’ content consumption, interaction, creation and presentation preferences and promoting self-directed and student-centred learning environments. Additional advantages of the way a seamless learning approach can improve a traditional music curriculum to meet the needs of contemporary students are also emphasised, rendering the learning environment more dynamic, inclusive and flexible. Helpful recommendations to teachers are provided on how to apply the SLED framework in their subjects with a view to creating pragmatic learning experiences that enhance students’ overall learning experience.Item Open Access The journey of a versatile singer: an autoethnographic study of preparing and performing five different vocal genres and styles(University of the Free State, 2023) Engelbrecht, Albertus; Wium, MatildieThis project is an autoethnographic study aimed at developing the vocal–technical versatility required to perform various Western art music styles and genres appropriately while maintaining a singer’s vocal health. Vocal quality is mainly dependent on glottal closure (also known as glottal adduction), which can be categorised into firm and loose glottal adduction. Vocal registration is strongly interrelated with glottal adduction: simply put, firm glottal adduction corresponds to heavy registration and loose glottal adduction to light registration. Furthermore, vocal registration influences the vertical laryngeal position and subglottal pressure and its varying degrees ideally relate directly to different approaches to styles and genres. I came to realise during my professional career that different vocal registrations are appropriate to different vocal styles of Western art music. These considerations led me to my research question: How might a singer develop the vocal–technical versatility needed to meet the demands of performing diverse vocal genres and styles? The existing scholarly literature does not provide singers with concrete advice regarding vocal–technical adjustment for singing across all the major vocal styles and genres of Western art music while at the same time maintaining vocal versatility. Consequently, my goal with this project was to generate these answers through praxis and making explicit the tacit knowledge embedded in my five examination performances, namely: (1) Bach oratorio; (2) verismo opera; (3) Viennese operetta; (4) 19th-century Lied; and (5) 20th- and 21st-century art song. This project resides in the field of artistic or practice-based research in which I, the performer, became the researcher and used my practical experience as a research tool. In order to describe the personal sensory experiences of my singing, I decided to follow an autoethnographic approach within the paradigm of practice-based research. Central to this investigation was the documentation of the physical processes at play during the preparation period; in producing this documentation, I aimed at describing, in written form, the tacit knowledge of the ways I adapted vocal–technically to the different styles and genres. The data were collected in three ways: (1) by keeping a journal and/or using annotations of my preparation process; (2) informal recordings of my rehearsal period; and (3) video recordings of the actual performances. Critical self-reflection constituted the basis of the data analysis, a process that was conducted as follows: close listening to the examination video recordings in which I analysed the outcomes of my preparation period and compared my findings of the examinations with those of the examiners by consulting their reports. My enquiry revealed that I was able to develop vocal–technical versatility across the five vocal styles and genres by focusing consciously on the appropriate configuration of heavy and light registration. The use of voix mixte played a significant role in the colouration of the voice, which necessitates using light registration (regardless of whether the relevant performance situation gravitates more towards mainstream or historically informed performance). I conclude that my findings suggest that it is possible for singers to adjust their vocal technique convincingly to interpret the different performance practices and styles applicable to the genres which are discussed in this thesis.Item Open Access Transformative teacher training strategies of stringed instruments in South African Community Music programmes(University of the Free State, 2023) Diamond, Samson; de Villiers, Frelét; Dakon, Jacob M.South African Community Music programmes are at the vanguard of responding to a multitude of challenges, including not only access to music education but also to teacher training and, more specifically, string teacher training. Where high standards are not persistently met, the historical inequities in the provision of quality music education may perpetuate legacies of inequality. Thus, to provide students with the best possible music education that fosters high aspirations and enables them to realise their full potential and personal growth, string teachers engaged in Community Music programmes must receive training that is intentional, structured, frequent, and both intense and intensive. This study examined the current state of string teacher training in South African Community Music programmes where former students are now employed as teachers with the aim of investigating their successes and weaknesses. The objective was to gain an in-depth understanding of these programmes to make recommendations for enhancing string instruction. To achieve this, a descriptive research design and an interpretive multiple case study underpinned by social constructivism were implemented, supported by a theoretical framework that was applied to transformational teaching. Through an extensive literature study that extracted previous research on Community Music and divergent practices, accounts of string pedagogy and contemporary string teaching methodologies were reviewed. By conducting interviews with 13 participants from three cases (Community Music programmes), the study shared the insights and lived experiences of programme directors and string teachers which illuminated the central tenets of transformative strategies for string teacher training. A shortage of resources, successful and ineffective string teaching practices and methodologies, factors affecting the growth and effectiveness of string teachers, and measures to improve string teacher training were some of the findings that emerged from the data. The study also identified strategies for string teacher training that encourage teachers to work collaboratively, frequently, and intensively in an environment that promotes active engagement and reflective practice. Community Music programmes have the potential to promote positive social outcomes, such as personal development through music education achievement, community development through cultural and economic empowerment, social cohesion, and improved wellbeing, as determined by and demonstrated in this study.Item Open Access An investigation into a proposed syllabus for tuba performance studies at South African universities(University of the Free State, 2021-11) Foster, George; De Villiers, Frelet; Golson, PhilA primary function of syllabi for university music performance studies is the prescription of both compulsory and recommended module materials. However, as South African universities lack comprehensive syllabi for tuba performance studies, the aim of this study was the proposition of such a syllabus for use in the various institutions. The key research problem focused on the aspects that ought to be considered in the compilation of these syllabi. The emerging sub-questions sought to determine the extent to which lecturers use these syllabi to prescribe materials to their students; the various components, design process and limitations of the existing syllabi, and the systems/tools available for the grading of solo tuba repertoire as an integral process in syllabus compilation. In the absence of a suitable system for this purpose of grading solo repertoire for various years of university study, I designed a system based on existing systems, data from respondents, all informed by my experience as a university tuba lecturer and performer. I performed a literature review and complemented this by conducting interviews with national and international tuba lecturers who were selected according to specific criteria. Through the integration of the literature, collected documents and the thematic analysis of the interview transcripts, I suggested a framework for the layout, and ideas for compilation of the administrative and music-orientated components of a syllabus for university tuba performance studies. By the utilisation of the syllabus compilation suggestions and framework, university tuba lecturers are hereby presented with a source for the compilation of their own syllabi. Additionally, they have at their disposal a system that can accurately and comprehensively grade various repertoire pieces that may be used as the content of repertoire lists within their syllabi, and from which various works may be chosen to fulfil the requirements of their specific modules.Item Open Access Musicians' sensory patterns in relation to their primary musical instrument(University of the Free State, 2018-11) Hellberg, Elsabie Petronella; De Villiers, Frelet; Van Niekerk, CarolineThis study examined the relation between 1327 musicians’ sensory patterns and their primary musical instrument. Musicians’ sensory patterns were further compared with reference to different instrument groups, within instrument groups, and gender within these groups. To achieve this, a quantitative criterion group design was implemented using the Adult/Adolescent Sensory History (ASH). This 163-item selfreport questionnaire is principally used in occupational therapy to evaluate individuals’ sensory integration and its influence on their daily functioning. Employing the ASH, musicians’ sensory patterns were examined from three perspectives: sensory modulation and discrimination, functional problems, and motor/social components. It was established that, in comparison to the standard population, musicians demonstrate increased sensitivity for all the components contained in the ASH. Overall, musicians achieved higher auditory modulation, visual modulation, and proprioceptive discrimination scores than the average person. Instead of viewing these as sensory obstacles, they rather point toward musicians’ increased sensitivity/awareness or superior sensory abilities. It was found that in terms of auditory modulation, percussion, trombone, trumpet and tuba players were the only instrumentalists who score within the typical range of the ASH. Of the instruments which were within the mild difficulties range, violin players obtained the highest score. It emerged that the majority of musicians from all 19 instruments’ visual modulation scores were within the ASH’s mild difficulties range, indicating greater sensitivity to visual stimuli than the average person. Similarly, all groups except percussion scored at the low end of mild difficulties range. This is in accordance with previous research which determined that musicians have superior multisensory processing and integration of tactile and visual information which allow them to react significantly more quickly to such stimuli than non-musicians. It was further found that, although within the norm, musicians demonstrate greater discrimination sensitivity, especially in terms of proprioception, than the standard population. As far as functional problems are concerned, musicians’ scores were overall slightly higher than the norm. Sensory over-responsivity, often coinciding with modulation challenges/sensitivity, was established among all musician groups. With the exception of pianists and violinists, all instrument groups were at the low end of the mild difficulties range for the various sensory seeking behaviours. These behaviours are typically associated with higher modulation or discrimination scores – evident from the results of this study. Several gender differences emerged in terms of vestibular, visual and tactile modulation, vestibular discrimination, as well as sensory seeking behaviours. Another noteworthy finding involves musicians’ social/emotional patterns. Similar to previous research, it was established that higher levels of anxiety, depression, impulsivity and introversion exist among musicians. For the first time, as a result of my research, these traits have now been shown to be connected to sensory processing difficulties/sensitivity. By conducting this research, pioneering work was done concerning musicians’ sensory patterns, providing multiple possibilities for further research.Item 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.Item 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.Item Open Access Reclaiming clarinet repertoire: the reconstruction and performance of a selection of rediscovered clarinet concertos composed during the classical era(University of the Free State, 2018-01) Strydom, Danre; Wium, M. Thom; Rice, A. R.; Hoeprich, E.This study was undertaken to explore a practical solution for the lack of a comprehensive selection of clarinet concertos written during the Classical period in Western music. The study ultimately fulfilled its objective through the rediscovery, editing, and performance of previously unpublished or lesser-known Classical clarinet concertos, thereby supplementing the era’s repertoire choice for the modern clarinet player. The study commenced with identifying a list of unpublished Classical clarinet concerto manuscripts by visiting archives and searching through catalogues in European countries, such as Switzerland, Germany, and Italy. The vast majority of the centuriesold manuscripts were either incomplete or severely worn by age. Therefore, the primary criteria for initial consideration was the completeness, accuracy, and legibility of the available manuscripts. The shortlist of possible concertos was then preliminarily transcribed, and tested by me for playability, potential performance appeal, and academic value. After consulting with several renowned early clarinet researchers such as Eric Hoeprich and Albert Rice, four concerto manuscripts were selected from the preceding shortlist. These concertos included the Concerto for Clarinet in A and Violin by Franz Xaver Hanisch; the Clarinet concerto in B-flat by Joseph Christian Willibald Michl; the Concerto for two clarinets in E-flat major by Josef Mysliveček; and the Concerto for Clarinet in B-flat by Franz Tausch. The entirety of the transcribing and editing process was guided by a thorough literature study in the field of Historically Informed Performance Practice (HIP), as well as the history of the instrument and composers. The critically examined theoretical and methodological HIP frameworks included contributions by scholars such as John Butt and Richard Taruskin. The historical integrity of the study was additionally ensured by consulting applicable literature by researchers such as Rice, Hoeprich, Pearson, and Lawson. The final editing of the scores was the result of my unusual choice to publish the concertos with string quartet accompaniment, instead of full orchestra. This decision was strongly influenced by the limited availability of local resources such as venues, professional musicians, proper instruments, and general funding. The string quartet option alleviated these issues whilst supporting the continual aim of this study, i.e. to allow previously inaccessible concertos to be readily available for performance and within reach of as many performers, who can meet the interpretive demands of the edited concertos, as possible. The edited concerto scores were exported as pdf files using the Sibelius score writer program. These scores were then distributed by me (an experienced early clarinet player) and the University of the Free State’s Odeion String Quartet for rehearsals and final review. The concerto editions were then completed, and a well-received performance of each followed. The subsequent success of the concerto performances reinforced the idea that producing scores for smaller settings allow for more performance possibilities, regardless of various financial and demographic limitations. Ultimately, four concertos were identified, edited, and performed. There are still myriad less-known, less frequently performed Classical clarinet concertos that remain unpublished or that are no longer in print, with which clarinettists should ideally be able to expand their repertoire and knowledge. It is hoped that the present study may serve as an inspiration for more editions of such concertos to be prepared. Finally, the study’s contribution to the available Classical clarinet repertoire has the potential to stimulate a reconsideration of the established repertoire, such as the Mozart Clarinet Concerto, thereby helping to reinvigorate clarinettists’ historical-contextual interpretational skills.Item 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.Item 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.Item Open Access The role of the musical arts in HIV/AIDS intervention in Malawi(University of the Free State, 2013-01) Nthala, Grant Macloly Moloko; Barz, Gregory F.English: This study is a response to the call for localised research from a number of medical ethnomusicology experts who have studied and documented research findings on the relationships between medicine, music and culture in Africa. Such findings have been documented in recent publications such as Health Knowledge and Belief Systems in Africa (2008), The Oxford Handbook of Medical Ethnomusicology (2008) and The Culture o/AIDS in Africa (20 II). The field research supporting this study is country specific and aims at contributing to the greater academic effort of medical ethnomusicology on the African continent by providing depth of local information regarding the role that music has played as an intervention for public health concerns and healing efforts in Malawi. The study begins by ethnographically observing and investigating the HIV/AIDS situation in Malawi, factors that have contributed to the escalation of the situation, and the ways in which Malawian society has responded musically to pandemics in general and to the HIV/AIDS pandemic in particular. The findings of this observation and investigation are documented with the support of academic evidence on the realities of HIV/AIDS in local Malawian contexts and within the greater Southern African context. The supporting literature further discusses how the musical arts have played a role in defining and addressing these realities from social, cultural, economic, and biomedical points of view globally. Finally, the documented examples are evaluated to determine their efficacy. Challenges consistent with arts interventions are highlighted as largely due to inadequate knowledge, cultural biases, lack of training, and the practitioners' lack of sensitivity. It is observed throughout this study that different communities interpret music in different ways in order to share ideas, joy, memories, suffering, pain, and spiritual ideals. In addition, Malawian societies both in urban and rural communities use music as a unifying element for the achievement of predetermined goals. A number of interventions have been designed, developed, and implemented to address the impact of HI V/AIDS on Malawi; however, there is no documented data on the involvement and promotion of the musical arts in the effective and sustained fight against the pandemic at national governmental and non-governmental policy levels. This lack of material calls for large-scale research on arts-based HIV/AIDS intervention in Malawi, part of which is the attempt made through this study.Item 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.Item Open Access 'n Musikus in die vreemde: die lewe en werk van Arnold Bosman(University of the Free State, 2012-11) Cromhout, Johan; Viljoen, MartinaEnglish: 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.Item 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.Item 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, MartinaEnglish: 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.Item Open Access Music and discourse archaeology: critical studies of GDR 'Rote Lieder' and Afrikaans 'Volk- en Vaderlandsliedere' as based on a model of interacting philosophical sub-theories(University of the Free State, 2014-01) Schutte, Charla Helena; Viljoen, M.; Visagie, P. J.English: Indoctrination through music is a well-known phenomenon which has been used for centuries as a strategy to influence society and instil certain beliefs and attitudes in people. Extensive research over the last few decades confirms music as a propagandist method to promote ideology. In this study, it is my aim to focus on two specific instances of such indoctrination, namely the “rote Lieder” which were sung in the German Democratic Republic, as well as Afrikaans “Volks- en Vaderlandsliedere” as deployed before and during the apartheid era in South Africa. After National Socialism, people were once again exposed to propaganda in the German Democratic Republic. Several mass organisations were formed by the SED (Socialist Unity Party of Germany), including youth organisations such as the Young Pioneers, the Thälmann Pioneers and the Free German Youth, and society was introduced to songs of an ideological nature, encouraging belief in the communist system. These GDR “rote Lieder” were published in songbooks used especially by youth organisations. In this way the GDR government managed to gain support for the communist regime and a successful endeavour was initiated to circulate ideologically-loaded folk songs amongst the GDR citizens. In South Africa an Afrikaner ideology of racial segregation slowly emerged during the first decades of the 20th century, reaching a climax with a political take-over of the National Party in 1948. The songbook of the FAK (Federation of Afrikaans Cultural Associations), published in 1937, quickly gained popularity and promoted patriotism and nationalism among white Afrikaners, finding its way into Afrikaner homes, churches, organisations and schools, thus becoming unanimous with Afrikaner culture. Similar to the GDR, these songs were sung especially by the youth in schools and youth organisations. The governments of both the GDR and South Africa never formally disclosed the implementation of ideologically-driven songs to indoctrinate people, but this does not mean that they did not understand the value and effectiveness of using music and song text to sway large groups of people, and actively used these to convey political ideas. An ideology-critical analysis of a selection of folk songs taken from the GDR and FAK songbooks could therefore uncover underlying ideological structures which may have had a profound but possibly distorted effect on those who sang these songs. Against this background, this thesis investigates the extent to which ideology is present and operative in GDR songs and FAK “Volk- en Vaderlandsliedere” by distorting reality through misrepresenting the conditions of a particular set of social-historical circumstances; expressing the interests of those in power; mobilising meaning so as to establish and perpetuate relationships of domination, and concealing relationships of domination. In order to uncover such ideological content, the theoretical framework for ideology analysis, as presented by John Thompson with his depth-hermeneutical, multi-level critical approach, and sub-theories of Discourse Archaeology as proposed by Johann Visagie, are applied. By combining Visagie's Discourse Archaeology with the discourse of critical musicology, the underlying and sometimes hidden ideological deep structures found in political folk songs revealed deep-seated ideological beliefs concealed within these songs and unmasked hidden relationships of domination. The conclusion reached is that ideological indoctrination is present in both the ‘rote Lieder’ and the ‘Volks- en Vaderlandsliedere” to a substantive degree. This confirms that the sub-theories of Discourse Archaeology are highly-complex ideological-critical tools with which deep-rooted ideological meanings in political folk songs were identified and exposed in this study within two very specific socio-historical environments. Moreover, when utilised in combination, each of the models introduced and applied in this thesis offers its own below-the-surface analysis on different levels and in different fields using their own language to describe structures and systems in a way that is not possible with ‘everyday’ language, thus providing the analyst with an all-encompassing, powerful analytical framework with which to expose the philosophical deep structures of indoctrination through music that might have gone unnoticed in a more traditionally-oriented mode of musical analysis.Item 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, NicolEnglish: 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.Item 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, RoelfEnglish: 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.Item Open Access 'n Musikus in die vreemde: die lewe en werk van Arnold Bosman(University of the Free State, 2012) Cromhout, Johan; Viljoen, MartinaEnglish: 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.