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1
Serrin, Bret. "The Legacy of Theodore Leschetizky as Seen through His Pedagogical Repertoire and Teaching Style." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28474/.
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Theodore Leschetizky's singular pianistic legacy survives to this day because of his revolutionary pedagogical methods and his compositions for the piano repertory. The amalgamation of these two aspects formed his distinctive contributions to the fields of piano and piano pedagogy and left an indelible mark on the history of the instrument. His students lead an impressive list of the greatest artists of the previous century, each influencing the evolution of pianism with their own remarkable style and personality. While Leschetizky was arguably without peer as a pedagogue, many pianists today are unaware of the vast number of compositions that he wrote. These pieces were intended not only for the concert stage, but also as a very specific pedagogical repertoire that he used within his own teaching studio. This repertoire comprises a vital component of the Leschetizky legacy, albeit one which is often slighted in comparison. It is imperative that the pianists of our current generation understand the dual aspects of his contribution to our art form, in order to fully grasp the way in which he has changed the face of pianism. The purpose of this dissertation and lecture recital is to enumerate the various aspects that constitute the dual components of Leschetizky's pianistic legacy. For pedagogues of the current generation, it is of vital importance that we understand not only our own personal pedagogical lineage, but the various other individuals that, through their contributions, have led us to where we are in our understanding of the instrument. What is needed in the current research on this subject is one individual source that not only documents the characteristics of a pedagogical genius, but explores the legacy he left for future generations through documented accounts of his students and the examination of his own unfamiliar, pedagogical repertoire for the piano.
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Wang, Rong Sheng. "A study of five Chinese piano pieces with a review of the introduction and development of the piano in China." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941578.
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This dissertation is an analytical study of five Chinese piano pieces: Buffalo Boy's Flute by He Lu-ting, Flower Drum by Qu Wei, Xing-jiang Dance No. 1 and No. 2 by Ding Shan-de and Tunes at Sunset by Li Ying-hai. These five pieces represent a specific historical period from the 1930s to the 1950s--a primary phase in the establishment of Chinese piano music. Each piece is analyzed in terms of melody, rhythm, harmony, form and style, in order to ascertain how Chinese composers fused Western compositional techniques with the Chinese musical heritage. A second objective was to provide an historical background of the introduction and development of the piano in China. Through the investigation, this study has traced the channels through which Western music was introduced to China.The study consists of five chapters. Chapter 1 presents introductory information as well as the purpose, significance, procedures and delimitation of the study. Chapter 2, a review of related literature, provides a brief description and evaluation of important sources utilized. Chapter 3 presents a brief history of the piano in China. Chapter 4 provides an analysis of each of the five Chinese piano pieces. Also included are an evaluation of each work, brief biographies, and the historical circumstances surrounding the composition of each piece. Summary and conclusions are reported in Chapter 5.The history of Chinese piano music is relatively short--spanning approximately eighty years. Western music was not introduced to China until the beginning of the twentieth century. The founding of the National Conservatory in 1927 marked the beginning of professional musical higher education in China. Because of the musical training which Chinese musicians received, the German-Russian romantic style exerted a strong influence on the musical development of China. In the past eighty years, Chinese musicians have taken different paths trying to establish a national identity within their musical culture. The five pieces analyzed in this study reflect the accomplishments which Chinese musicians achieved in combining Western compositional techniques with Chinese musical idioms. These innovations have since become common practice among most Chinese composers.School of Music
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Beckman, Seth. "The traditional and the avant-garde in late twentieth-century music : a study of three piano compositions by Frederic Rzewski (1938- )." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026705.
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Frederic Rzewski (1938- ) is a composer and pianist fluent in the styles of traditional pianism as well as the contemporary avant-garde. His musical breadth is most clearly demonstrated through his piano compositions, which are often large-scale, virtuosic, and tonal. For these reasons, they are frequently compared to works of the Romantic era. Furthermore, his pieces also display experimental, avant-gardistic leanings and thereby demonstrate complexity and eclecticism. The thread of continuity in Rzewski's works may be found through his incorporation of programmatic associations, which embrace controversial and universal socio-political themes.This study examines three of Rzewski's compositions for piano that typify the composer's diverse yet communal approach to composition: 36 Variations on "the People United Will Never Be Defeated!, the North American Ballads, and De Profundis. Through the integration of a predominantly tonal musical language with bold, contemporary techniques, all three pieces represent a melding of the past with the present. Thus, they celebrate the complex nature of the human experience through the realm of musical expression.Frederic Rzewski was interviewed by this author, as was pianist Ursula Oppens (a strong advocate of contemporary works generally and Rzewski's pieces specifically). Their insights appear throughout the document, on topics ranging from the generally relevant to specific items connected to the above-mentioned compositions. Related issues of prominent educational influences, the contemporary avant-garde movement, critical review, extant dissertations, improvisation, neo-tonality, and the trend of political music were researched for their invaluable associations with the above-mentioned pieces.This study contends that, through these works, Frederic Rzewski demonstrates a commanding ability to weave varied musical and programmatic components into compelling, cohesive compositions. Furthermore, these pieces offer keen insights into compositional style and practice for piano in the latter half of the twentieth century and thereby present pianists and pedagogues with the opportunity for the introduction to (and immersion in) essential, idiomatic writing as related to late twentieth-century piano composition.School of Music
4
Poon, Letty, and 潘穎芝. "Piano culture in Hong Kong: from City Hall toHarbour City." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B38711163.
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Hawkins, Cynthia Susan. "Aspects of the musical education of choristers in Church of England choir schools." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63228.
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Dickman, Marc. "Richmond Matteson: Euphonium Innovator, Teacher and Performer, With Three Recitals of Selected Works by Frescobaldi, Bach, Saint-Saëns, Hutchinson, White, and Others." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935675/.
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An examination is conducted of the life, career and musical styles of Richmond Matteson, an influential jazz euphonium and tuba performer of the twentieth century. The study includes a brief history of the euphonium's role in concert bands. A description of Matteson's background as a musician and clinician including education, influences and career changes will also be discussed. Analysis of Matteson's improvisational style and a transcription from the recording Dan's Blues is included. A formal analysis of Claude T. Smith's Variations for Baritone is provided, as well as a brief biography of the composer. Matteson's stylistic traits which Smith employed for the composition of Variations for Baritone are illustrated. The conclusion calls for further study of jazz styles by euphoniumists with more frequent performances of Variations for Baritone. Appendices include lists of Matteson's compositions and arrangements, a selected discography and a list of clinics and performances from 1982-1992.
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Saito, Mitsuru. "A Critique of Etudes and Method Books for Advanced Euphoniumists: Status Quo and Future Recommendations." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6057.
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Thesis (D.M.A.)--University of North Texas, 2008.System requirements: Adobe Acrobat Reader. Accompanied by 5 recitals, recorded Oct. 28, 2002, Mar. 29, 2004, Sept. 8, 2005, Sept. 9, 2005, and Mar. 9, 2008. Includes bibliographical references (p. 61-67).
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Ladd, Michael J. "An interactive CD-ROM for the instruction of 'classic' sound synthesis methodologies." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1210534.
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The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive timbral differences produced by these methods. This environment allows students to interact at their own speed and assist in customizing their learning development.
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Ng, Lok. "Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/ng_lok/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 21, 2003, Oct. 11, 2004, Oct. 24, 2005, and July 12, 2006. Includes bibliographical references (p. 33-35).
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.
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Fan-Long, Grace (Chun Grace). "A Study of Idiomatic Piano Compositions During the Cultural Revolution in the People's Republic of China." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc278304/.
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This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.
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Akhmadullin, Iskander. "The Russian trumpet sonata a study of selected representative sonatas for trumpet and piano with an historical overview of the Russian trumpet school, together with three recitals of selected works by Viviani, Chaynes, Böhme and others /." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4244/.
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The impact of training on virtual team effectiveness was assessed in five areas: communication, planning tasks and setting goals, solving problems and making decisions, resolving conflict, and responding to customer requirements. A 12-page survey was developed exploring all aspects of virtual teams. 180 surveys were distributed, 52 were returned representing 43 companies. Training led to higher effectiveness in planning tasks and setting goals, solving problems and making decisions, and conflict resolution, but not in communication and responding to customer requirements. Training may not solve all the problems that virtual teams will encounter; however, training will make the challenges easier to handle.
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Young, Philip T. "The Transcriptions and Editions of Luigi Silva and Their Influence on Cello Pedagogy and Performance with Three Recitals of Selected Works by Bach, Beethoven, Barber, Bridge, Haydn and Others." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc935644/.
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Virtually disregarded in contemporary discussions of cello performance and pedagogy is the name of Luigi Silva (1903-1961). Though he did not achieve fame as a performer to the same degree as his peers Leonard Rose (1918-1984), Emanuel Feuermann (1902-1942) or Gregor Piatigorsky (1903-1976), Silva had an internationally-acclaimed performing career. Owing to his formidable technique on the instrument, he was known as the "Paganini of the cello." Through Silva's unparalleled ability to analyze technical problems in his students' playing and assist his student have populated faculties of most of the major American post-secondary schools of music and many of the principal chairs in important symphony orchestras. Of even longer-lasting significance is his enormous contribution to the literature for cello of over 100 transcriptions and scholarly editions of standard cello repertoire. By combining his own incredible artistry on the instrument and his extraordinary enthusiasm for teaching with his transcriptions of such works as the 24 Paganini Caprices, Silva helped raise the standard of cello technique to an unprecedented level and has impacted in one way or another every cellist in the twentieth century. This dissertation document describes the influences Silva's transcriptions and editions have had on cello playing and teaching in the 20th-Century.
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Cobb-Jordan, Amy. "The study of English, French, German and Italian techniques of singing related to the female adolescent voice." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/cobb-jordan%5Famy/index.htm.
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Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.
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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Meixner, Brian Daniel. "A pedagogical study and practice guide for significant original euphonium solo compositions for the undergraduate level student." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3939/.
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Euphonium concertos and similar masterworks for euphonium have been recorded, written about, analyzed, and discussed at length numerous times in recent years. Unfortunately, the most frequently studied and performed euphonium solos have been almost completely ignored in this regard. These works are useful for performance by the undergraduate-level euphonium player. Solos in this category are played by strong high school players and undergraduate euphonium students all over the world. These solos receive countless performances and play a crucial role in the development of young euphonium players, yet have never received attention in the form of a published pedagogical guide. The pieces of greater difficulty and substantial length have received more attention for obvious reasons, but solo pieces most useful for the developing euphoniumist need to be analyzed and discussed on a pedagogical level. This paper is a pedagogical guide to commonly played euphonium solos by the undergraduate level student. The three pieces used in this study are Sonatina by Warner Hutchison, Sonata for Unaccompanied Euphonium by Fred Clinard, and Lyric Suite by Donald White. Pertinent background information about each piece is presented in order for the reader to understand the historical context in which it was written. A list of relevant information and minimum performance skills (instrumentation, length, range, articulation skills, etc.) are included for each selection. An analysis of particular sections of each piece are presented for the reader to adequately grasp concepts and practice ideas that are explained, although the bulk of analysis is of a pedagogical nature. The main body of the paper focuses on assisting the reader with ways to approach this solo literature in daily practice as well as effective performance ideas. Particularly troublesome areas of each piece are identified and strategies to overcome common pitfalls and performance errors are noted.
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Zhou, Lejing 1986. "A Survey of Solo, Chamber Music and Orchestral Excerpts Selected and Organized Pedagogically for the Intermediate Cellist." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538786/.
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The use of orchestral excerpts from standard music repertoire as a pedagogical means has been adopted by many instrumental pedagogues to train the advanced instrumentalist. This dissertation presents an innovative idea among the excerpt tradition by drawing excerpts from solo, chamber music and orchestral music to function as etudes for the intermediate level cellist. 320 music excerpts are drawn and organized under the headings of different technical categories in order to train the techniques within the context of quality music. The purpose of the dissertation is to introduce the young player to the concept that techniques and musical expression are not two separated entities, rather, techniques serve as a medium to convey the music.
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Ford, James. "A scientific characterization of trumpet mouthpiece forces in the context of pedagogical brass literature." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5183.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 5, 1999, Nov. 2, 2001, Apr. 8, 2002, and Sept. 24, 2007. Includes bibliographical references (p. 58-61).
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Youngs, Jennifer (Soprano). "The Historical and Pedagogical Significance of Excerpts by André-Ernest-Modeste Grétry (1741-1813)." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505272/.
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This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741-1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry's attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. This research has solidified the relationship between Grétry's compositional style and its usefulness within the undergraduate voice studio.
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Haas, Benjamin D. "Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9777.
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Watson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.
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This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).
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Wong, Ki Tak Katherine School of English Media & Performing Arts UNSW. "The Contribution of Carl Czerny to Piano Pedagogy in the Early Nineteenth Century." 2008. http://handle.unsw.edu.au/1959.4/41508.
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Carl Czerny (1791-1857), whose works number over one thousand opuses, had an active career a composer, pianist, exponent of Beethoven, piano teacher, and theorist. He has received lots of criticism both during his lifetime and ever since. Even nowadays, though many of his piano exercises are popular items for many teachers and pupils ranging from beginners to virtuosi, Czerny is still rated as a master of mechanical works that focus mainly on the right hand. This study will argue that Czerny is much underrated, particularly as a pedagogue, and aims to find out what are the underlying principles that Czerny embedded in his piano pedagogical works, what made them indispensable in the teaching of piano playing and to what degree they present other musical elements which are not purely mechanical in order to reassess Czerny?s achievements in the field of piano pedagogy. The discussion is based on the original English edition of Czerny?s Opus 500 Complete Theoretical and Practical Piano Forte School (1839), its Supplement, as well as Czerny?s other pedagogical works, such as Op. 139, Op. 299, Op. 365, Op. 755 and Op. 821. In addition, other selected pedagogical works and representative keyboard method books and exercises (excluding works for the organ) by other authors up to Czerny?s time are discussed for enriching the discussion. Through a detailed analysis of Czerny?s Opus 500, this study identifies fifteen parameters in his teaching sequences that range from beginner to virtuoso and the findings are clarified and contextualized within the field of 19th century piano pedagogy. These fifteen parameters are also exemplified in four selected opuses of Czerny, and through the ?Exam Pieces? of The Associated Board of the Royal Schools of Music. These are used to justify the applicability of the parameters in the learning sequences intrinsic to the graded piano qualifying examinations nowadays. It is argued that in view of the rich pedagogical content of Czerny?s work both technically and stylistically, together with the systematic teaching sequences that he presented in his piano pedagogical works, Czerny?s contribution to the art of keyboard playing should be well acknowledged.
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Byrne, Mary Catherine Jett. "Tooters and tutors: flute performance practice derived from pedagogical treatises of the Paris Conservatoire, 1838-1927." Thesis, 1993. https://dspace.library.uvic.ca//handle/1828/9611.
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Throughout the two hundred years of the Paris Conservatoire, the Professors of Flute have carefully documented their philosophies in numerous large-scale, comprehensive treatises. Building on the biographical and historical studies by earlier scholars, this dissertation will study three major treatises by Professors of Flute at the Paris Conservatoire to shed light on the performance practice of the flutists performing or trained in Paris: the Méthode pour servir a l'enseignement de la nouvelle flûte (1838) by Victor Coche, the Méthode pour flûte système Boehm (c. 1880) by Joseph Henri Altès, and L'Art de la flûte collected by Claude Paul Taffanel, completed in two parts by Philippe Gaubert (Méthode complète, 1923) and Louis Fleury ("La Flûte," 1927).
Chapters 1 through 4 provide an historical context for the dissertation, including: a history of the Paris Conservatoire with particular emphasis on prevailing pedagogical trends at that institution, the evolution of the flute culminating in the innovations of Theobald Boehm, factors bearing on the professional flutist in Paris, and historical information on the flute treatises examined. In chapters 5 through 7, each of the three method treatises by Coche, Altès, and Taffanel with Gaubert and Fleury are evaluated for implications of performance practice based on the type of instruction and exercises devoted to the various component parts of each of six proposed elements of music--pitch, rhythm, timbre, dynamic, form and musical style--as well as areas of interest receiving special emphasis by each treatise composer. The concluding chapter collates the data of the earlier chapters and offers illumination on flute performance practice in France during the period 1838 to 1927.Graduate
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Kloppers, Hanmari. "Die gebruik van storytelling en die interaksie tussen sprokies en musiek as uitgangspunt vir 'n interdissiplinere musiekblyspel in die seniorfase (Afrikaans)." Diss., 2001. http://hdl.handle.net/2263/26277.
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AFRIKAANS: In hierdie studie word 'n voorstel gemaak vir die skep van 'n interdissiplinere musiekblyspel vir die seniorfase (Graad 7-9). Die uitgangspunt vir hierdie musiekblyspel is die dinamiese interaksie wat daar tussen sprokies en musiek bestaan. In voorafgaande navorsing deur die outeur, is hierdie interaksie as die integrasieteorie geformuleer. Die integrasieteorie word in hierdie MMus-verhandeling deur middel van storytelling met die kurrikulum verbind. Die vertel-elemente van filmmusiek word ondersoek. Die werk van die filmprodusent, Walt Disney, as sinoniem vir die kombinasie van musiek, sprokies, film en storytelling, dien as voorbeeld vir die skep van die musiekblyspel. Improvisasie¬materiaal, na aanleiding van die fases en motiewe van 'n gekose sprokie, vorm die basis vir die skep van musiek vir die musiekblyspel. Die wedersydse ondersteuning wat tussen die sprokie en die musiek tot stand kom, verhoog die opvoedkundige waarde van hierdie projek. Die skep van hierdie musiekblyspel bied moontlikhede vir suksesvolle kurrikulum-integrasie. ENGLISH: In this study a proposal is made for the creation of an interdisciplinary musical for the senior phase (Grades 7-9). The point of departure for this musical is the dynamic interaction that exists between fairy tales and music. In preliminary research by the writer, this interaction is formulated as the theory of integration. In This MMus dissertation the theory of integration is linked to the curriculum by means of storytelling. The narrative elements of film music are examined. The work of the film producer, Walt Disney, as synonym for the combination of music, fairy tales, film and storytelling, serves as an example for the creation of the musical. Improvisation material, in terms of the phases and motifs of the chosen fairy tale, forms the basis for the creation of music for the musical. The mutual support that comes about between the fairy tale and the music, enhances the educational value of this project. The creation of this musical presents possibilities for successful curriculum integration.Dissertation (M Mus (Music Education))--University of Pretoria, 2006.
Music
unrestricted
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Comber, Abigail E. "Cultural construction of monsters : The prioress's tale and Song of Roland in analysis and instruction." 2012. http://liblink.bsu.edu/uhtbin/catkey/1697788.
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This project begins by examining current trends in the study of medieval literature, particularly in the area of medieval literature dealing with religious conflict.
Literary review demonstrates that since the late 20th century, critical examination of
medieval literature has been dominated by postcolonial analyses. A dedication to
postcolonial analyses, in effect, has stagnated the field of medieval literary analysis,
particularly in regard to those texts representing religious differences. By focusing
examination on two seminal medieval texts, "The Prioress's Tale" from Geoffrey Chaucer's The Canterbury Tales and the anonymous Song of Roland, this dissertation argues that traditional, postcolonially-inspired analyses are ineffective and inconsequential for modern, post-9/11 audiences, particularly high school students. More substantial and authentic readings are revealed through an application of Jeffrey Jerome Cohen's monster theory, a hypothesis articulated in his essay "Monster Culture (Seven
Theses)" (1996) which, when coupled with conventionally psychoanalytic concepts of
psychical reality and jouissance, reveals that the cultural creation of monsters is unchanging across time and culture. By illustrating this phenomenon through the Christian creation of Jewish and Muslim monsters, through literary examinations of "The Prioress's Tale" and Song of Roland respectively, this project hints that the same cultural forces feeding monster creation in the Middle Ages are alive in our modern age in the
creation of terrorist monsters. The project culminates by arguing that the most effective
way to teach literature of the Middle Ages to post-9/11 students is to focus on literature
ripe with religious conflict in order to tap into affective connections to be found between
modern students and the people of the Middle Ages. This is a bond best forged through a
discussion-driven approach to literary instruction.A future for medieval studies -- Monster Jews in the creation of the Christian psychical reality -- The necessity of Saracen monsters in the formation of the Christian self -- The future of medieval studies : teaching The prioress's tale and Song of Roland in contemporary high school classrooms.
Department of English
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Kok, Cornelia. "Implementering van die Transvaalse onderwysdepartement se senior primêre klasmusieksillabus vanaf 1978 tot 1992." Diss., 1995. http://hdl.handle.net/10500/17111.
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Text in AfrikaansSummaries in Afrikaans and English
The supposition exists that the Transvaal Education Department's Senior Primary Class Music syllabus is not being implemented in all aspects and that this is connected to teacher training. An empirical investigation was launched using three questionnaires and a classroom field study. Two questionnaires, completed by Class Music teachers, were used to assess to what extent the school syllabus was being followed. Teachers also had to provide information about their training in Class Music teaching. The third questionnaire offered a structured interview with school principals. The actualisation of Class Music, extra curricular music activities, the role of the teacher and teacher training were examined. Lessons for standard two pupils at twenty schools, were presented for an in-depth investigation. The results were tabulated, summarised in bar graphs and interpretations rendered. According to the findings, recommendations with regard to curriculum, the implementation of the syllabus, and tertiary Class Music training were made.
Daar is vermoed dat die seniorprimere Klasmusieksillabus van die Transvaalse Onderwysdepartement gedeeltelik gelmplementeer word en dat df t verband hou met onderwysersopleiding. In die lig hiervan is 'n empiriese ondersoek geloods deur middel van drie vraelyste en deur veldwerk. In die twee vraelyste wat deur Klasmusiekonderwysers voltooi is, is nagevors in watter mate die skoolsillabus gelmplementeer word. Verder het die onderwysers hulle Klasmusiekopleiding in hierdie verband aangetoon. Die derde vraelys vorm die raamwerk vir 'n gestruktureerde onderhoud met skoolhoofde. Die realisering van Klasmusiek, buite-kurrikulere musiekaktiwiteit en die rol van die onderwyser en onderwysopleiding is nagegaan. In 'n diepte-ondersoek is lesse by twintig skole vir standerdtweeleerlinge aangebied. Die resultate word in tabelle uiteengesit en in staafdiagramme saamgevat, terwyl waarnemings weergegee word. Op grondhiervan word aanbevelings gemaak oor kurrikulering, sillabusimplementering en tersiere Klasmusiekopleiding.
Art History, Visual Arts & Musicology
M.Mus
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Van, Helsdingen Lentelie. "Die rol van die vrou in die westerse musiekgeskiedenis van Suid-Afrika, 1652-1952." Diss., 1995. http://hdl.handle.net/10500/17725.
Full textAbstract:
Text in AfrikaansHierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le.
This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective.
Art History, Visual Arts & Musicology
M. Mus.
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Moses, Roland Hansel. "Pentecostal church music praxis : Indians in the Durban region, 1994-2011." Thesis, 2015. http://hdl.handle.net/10500/22677.
Full textAbstract:
The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area.
Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music.
The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement.
A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the
quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches.
Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators.Art History, Visual Arts and Musicology
D. Litt. et Phil.