Masters Degrees (Music)
Permanent URI for this collectionhttps://hdl.handle.net/10413/7270
Browse
Browsing Masters Degrees (Music) by Issue Date
Now showing 1 - 20 of 90
- Results Per Page
- Sort Options
Item The teaching of western music to Indian primary school children in Natal.(1976) Lutge, Marie Elizabeth.; Oehrle, Elizabeth Dittmar.No abstract available.Item Tonality in the first book of Debussy's preludes(1978) Stern, Jennifer Carol.; Parker, Beverly Lewis.This paper attempts to explore the extent to which Rudolph Reti's concepts of melodic and harmonic tonality are useful in describing Debussy's Preludes. It is hoped that this work will provide a basis for the examination and comparison of various other musical compositions, representative of different styles, in terms of tonality.Item Considerations in the realization of an oboe concerto : an oboist's viewpoint.(1979) Saunders, Robin Estridge.This thesis is divided into three main sections. Part I concerns general aspects of performance, whilst Part II deals specifically with performance aspects of the Double Concerto for Oboe, Harp and Strings by Hans Werner Henze. Part III is a summary and conclusion of Parts1 and 11. It is hoped that this thesis will provide both a fresh approach to performance in general and also to the performance of Henze's double concerto. I have chosen to discuss aspects of Henze's double concerto, because of its significance as a major oboe concerto in the repertoire and the demands it makes on the oboist both as interpreter and technician.Item Music of numbers [printed music] : nine pieces for two players and pianoforte.(1981) Solomon, Ian Bernard.No abstract available.Item Lyricism and disintegration in Gustav Mahler's vocal works.(1981) Harris, Valerie Merle.No abstract available.Item Verdi's Macbeth : a consideration of the opera against the background of the Risorgimento and in relation to its Shakespearean source.(1982) Fleming, Lois Christine.; Ballantine, Christopher John.; Bizley, William Henry.No abstract available.Item Darius Milhaud's published songs for voice and piano, 1913-1930.(1982) Johnston, Anthea Marjorie.; Parker, Beverly Lewis.No abstract available.Item Towards a committed musicology.(1982) Salmon, Richard John.Music is a human activity and as suchitis a social phenomenon, integrally related to all other aspects of society. Societies do not exist before people - they are produced by people in active engagement with their environment. The most fundamental human activity caters to the satisfaction of basic needs (e.g. for food and shelter), and the exact nature of this activity depends on the degree to which the forces of material production are developed at that historical moment, i.e. the degree to which natural resources and technical skills are available for the production of the goods required to subsist. The process by which people produce what they need and the way in which they distribute their products establishes a relationship between such people, and the combination of these social relations and the productive forces in relation to which they develop is called a 'mode of production': Societies are complex, and while it is likely that more than one mode of production may co-exist, most societies have exhibited a dominant social relationship in which a few people have controlled the means of production, i.e. the available raw materials and the instruments of production. This control has placed these people in a position of power as the ruling class (e.g. the aristocracy in feudal times), and, in using their power to maintain their control, they have exploited subservient classes. In most Western countries today, the dominant mode of production is capitalism,in hich the means of production is owned by a small class of capitalists as the result of a long history of inheritance, appropriation and centralization. In terms of Marx's analysis of the dynamics of capitalism, products are exchanged on the basis of the amount of abstract labour embodied in them and this exchange-value characterizes them as 'commodities'. Commodities are exchanged, not for their immediate use-value, but for the purposes of accumulating capital. In the capitalist mode of production, labour-power itself is commoditized, its price being determined by the cost of the daily subsistence of labourers, which is paid to them as 'wages'. Because of the advantage of their ownership of the means of production, capitalists appropriate the products of labour and then sell them. They accumulate capital as a result of the difference between the value of labour-power as expressed in the wages they pay and the value of labour as embodied in the appropriated products. This difference is called 'surplus-value'. The labour which produces surplus-value is therefore unpaid: it is surplus labour. Capitalists continually attempt to maximize surplus labour by extending working hours, expanding and centralizing production and developing productivity through co-operative labour and mechanization. Today, the accumulation and centralization of capital through its continual re-investment has led to the development of powerful monopolies which frequently antagonize those labour organizations such as trade unions which represent the interests of the exploited labouring class. The drive for productivity through mechanization has led to a decrease in the ratio between capital spent on labour and that spent on the means of production, with a consequent decrease in the proportion of surplus- value accrued. This is a contradiction which is central to capitalism, and, together with the fact that production is planned with accumulation and not consumption in mind, contributes to the recurrence of economic 'crises'. Our economy has the potential to produce a higher general standard of living, but this potential will not be fulfilled until the current domination of the means of production by capital is overcome, for capitalist social relations fetter the development of those very productive forces which make such a standard of living possible. These essential processes are often concealed in mystified appearances by an illusory understanding which Marx characterized as 'ideology'. For example, surplus-value is seen as 'profit', arising naturally in the difference between cost-price and selling price. The privileges of the ruling class also appear to be 'natural'. Such distortions as these,which obscure the 'contradictory and alienating social conditions' of capitalism, must be dispelled before musicology can formulate a relationship between music and society. If at this point it appears that economic theory is unrelated to musical concerns, then it needs to be reemphasized that music is a social phenomenon and does not exist in a vacuum. In the same way as Marx described commodities as 'fetishized' when they are seen to have a life of their own, independent of the human relationships in which they are produced, so music is fetishized if it is not seen in relation to all social activities.Item The Zulu umakhweyana bow : Ndabisehlele Myeza and her songs.(1983) Impey, Angela.No abstract availableItem Music in the pre-primary schools in Durban : a survey.(1984) Levin, Cecile Shirley.No abstract available.Item The steps and music of the Italian ballo of the early renaissance.(1984) Hoeksema, Susan.No abstract available.Item An Investigation of selected flute compositions by composers resident in South Africa.(1986) Smith, Ian Wesley Ruthven.This research briefly analyses and evaluates selected compositions for flute solo and flute and keyboard in terms of compositional techniques , formal, structure, technical difficulties and problems of performance . The works selected for discussion in this thesis are those of South African-born composers and composers of other nationalities who are resident in South Africa. Six compositions for solo flute and sixteen compositions for flute and keyboard by the following composers have been discussed: Robert Clough Stefans Grove David Hoenigsberg Christopher James Dirk de Klerk David Kosviner Bernard Langley Petrus Lemmer Jacques de Vos Malan Norbert Nowotny Hubert du Plessis Walter Swanson Arthur Wegelin Jeanne Zaidel-Rudolph Paul Loeb van Zuilenberg The aim of the research is primarily to discover and promote little known flute compositions by composers resident in South Africa. These works have been graded as to their suitability for either the concert platform or for educational purposes.Item A comparative analysis of the violin teaching methods of Shinichi Suzuki and Paul Rolland with reference to the theories of Jerome Bruner.(1987) Croft, Margaret Louise.; Oehrle, Elizabeth Dittmar.; Jackson, Melveen Beth.No abstract available.Item A survey of school music in South Africa.(1987) Ramsay, Mary Robinson.; Oehrle, Elizabeth Dittmar.Music in the curricula, music in the schools, supportive materials, and facilities were examined in six out of seven South African educational jurisdictions during the late 1970's. Official views were compared with what actually occurred. A profile of the teachers involved included their training, responsibilities, and status within the educational system. The detailed information was compared with trends appearing in the 1980's.Item The propagation of the sound of the horn.(1987) Lemmer, Natalie Carina.; Brauninger, Jurgen.The purpose of this study was to formulate a theory of the propagation of sound waves within the horn and to discover the sound spectrum and directional characteristics of the instrument. The dissertation also includes a brief discussion of the history and development of the horn.Item Towards a polyaesthetic approach to music education.(1987) Robinson, Jeffrey Eric.Taking as its central premise the contention that there are different ways of validly conceiving music's nature and value, this thesis aims to demonstrate the need for eclecticism in the formulation of a philosophy of music education. Comprising the main body of this study is an in depth consideration of four different aesthetic points: (i) music as autonomous aesthetic object; (ii) music as social commentary;(iii) music as social mediator; and (iv) music as llink to ultimate reality. The concluding chapter draws sane conclusions - as to what a 'polyaesthetic approach' implies in terms of music education's objectives, content and methods.Item The compositional and improvisational style of Thelonious Monk.(1987) Duby, Marc.No abstract available.Item Jazz as a model for teaching improvisation in music education.(1988) Peters, Melvin Lloyd.No abstract available.Item Item The principles of voice production in choral singing : a guide to conductors.(1988) Laidlaw, Petronella.; Oehrle, Elizabeth Dittmar.No abstract available.