Masters Degrees (Music)

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Browsing Masters Degrees (Music) by browse.metadata.advisor "Grove, I. J."

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    n Gebalanseerde musiekopvoedkundige program vir aktiewe ouer persone in gestruktureerde diensleweringsorganisasies
    (Stellenbosch : Stellenbosch University, 1994) Lamprecht, Dorathea Julia; Grove, I. J.; Howes, F.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Music.
    ENGLISH ABSTRACT: The value that music has had as a human activity through the ages justifies including elderly people as an important target group in music education. In the light of the ongoing demographic shifts in the population and future projections indicating an expanding aged population, an extension of the limits of music education to include the elderly population becomes a necessity and a responsibility. This task involves music educators and musicians. The research findings of this investigation indicate that opportunities of music education for elderly persons in South African service centres are not put to optimal use. These can be developed through knowledgeable implementation of systematic and balanced music education programmes aimed specifically at the nature of an elderly person and encompassing a variety of musical activities. The implementation of a music appreciation programme as well as instrumental teaching programme in service centres in the Cape Peninsula ran successfully with regard to achieving these aims and purposes, and met with positive reaction from members and organisers of service centres. The boundaries of the discipline were extended to accommodate the elderly. Constructive experiences occurred regarding social interaction, life enrichment and improved self-image, through intellectual stimulation, rediscovery of forgotten interests and motivation to exercise hobbies at home. Music educational activities resulted in enhanced communication and sensory and aesthetic experience, while time was spent constructively. Positive behaviour modification occurred in terms of the musical learning experience. The experiences of elderly people thus underlined the value of music as a phenomenon touching human lives at all levels. This motivates the feasibility of implementing such programmes in service centres and similar institutions for the elderly. Advantage should be taken of the influence and involvement of a community in providing a musical infrastructure for elderly people, drawing on the available expertise to realise this aim.
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    The secular songs of John Blow (1649-1708) : an edition
    (Stellenbosch : Stellenbosch University, 2000-11) Grobler, Marie; Grove, I. J.; University of Stellenbosch. Faculty of Arts & Social Sciences. Dept. of Music .
    ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition The aim of this thesis is to assemble the 109 secular songs of John Blow in one anthology, to transcribe them into modem notation and in doing so to make them accessible for modem use and further research. A significant feature of this collection is a group of 13 songs which have not been printed previously and which are available only in manuscript form in special collections in Great Britain. Other songs published during Blow's lifetime are likewise found in special collections which are not accessible to the public. Many of these songs are hard to decipher because of ageing. In some cases the paper is so thin that the notes show through from the back to the detriment of readibility. Where the manuscripts as well as contemporary publications exist, significant comparisons could be made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118 manuscript could be compared with the published version in Choice Ayres and Songs printed by Godbid and Playford (jnr) in 1683. An important 'discovery' was finding that an autograph manuscript, Ah me, undone! (Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw (1980), but an excerpt from the song Happy the Man who languishing (1700). This made it possible to compare an original manuscript by Blow with a publication of the same song by Playford. The 20th century has seen renewed interest in Blow's work: Frederick George Edwards (1902) and William Cummings (1908), in particular, started this revival in interest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) was responsible for the next phase. Since 1975, Bruce Wood has been the main researcher of Blow's anthems. Anthony Rooley, director of the Consort of Musicke in London and Peter Holman, director of the Parley of Instrument, have contributed greatly to the recent (1987-1999) revival of interest in Blow's music with their performances and recordings making use of original instruments. This thesis, as well as my Master's thesis (Grobler 1993), forms part of the most recent stage of research into Blow's works. Volume 1: In the first chapter of the thesis the secular song of the English Restoration (1660- 1714) is presented in perspective. Blow's stylistic characteristics as they manifest themselves in his secular songs are discussed. The criticism that this style evoked from music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of French and Italian vocal music, as well as the strong influence of Charles II's preferences on . court composers' music, are highlighted. The function of the song in Restoration society is discussed. In the second chapter Blow's contribution to the different song types are discussed in detail: the solo songs, songs for two voices and dialogues, songs for more than two voices and songs for incidental theatre music. The editorial process followed in transcribing the songs is explained. This is based on the methods suggested in Caldwell (1985) and described in the Musica Britannica. A discussion of the performing practice of the song contributes towards understanding the Restoration song. The textual commentary deals with aspects, such as notation and provides more information about the manuscripts and publications which form the basis of this investigation. A systematic index of sources and songs is provided. Volume 2: In this volume the 109 songs are presented chronologically in modem edited form. The songs reflect the original manuscript or publication as clearly as possible; old English spelling has been retained but archaic English letter forms have been modernised. Clef signs, time signatures, and key signatures, as well as accidentals, have been used according to modem practice. The figured bass is given as featured in the sources and is not realised or expanded.
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    Vakdidaktiese beskouing van geselekteerde Suid-Afrikaanse vioolmusiek
    (Stellenbosch : University of Stellenbosch, 2009-03) Martens, Hester Susanna; Smit, M.; Grove, I. J.; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Music.
    This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods pertaining to all three works was added. In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his “new” African voice (1984-). The African voice, represented by a melody he overheard a black roadworker sing, ties the work together. The sonata consists of five movements, with the first and fourth movements, and the third and fifth movements linked through content. This work presents challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as pitch difficulty due to unusual intervals without tonal context. Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region). The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping being the main challenge. Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies. The concerto has, as is tradition, three movements. Although the work contains ample technical challenges, it is obvious that it was composed by a string player – both the extensive running passages and double stopping are quite possible to play once good fingerings have been found. In the discussion of these works, attempts at solving specific technical problems are made.