Full Text Available
Note: Clicking the button above will open the full text document at the original institutional repository in a new window.
Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering
Thesis (MMus) -- University of Stellenbosch, 2003.
Saved in:
| Main Author: | |
|---|---|
| Other Authors: | |
| Format: | Thesis |
| Language: | af_ZA |
| Published: |
Stellenbosch : University of Stellenbosch
2012
|
| Subjects: | |
| Tags: |
No Tags, Be the first to tag this record!
|
| _version_ | 1867613825651441664 |
|---|---|
| access_status_str | Open Access |
| author | Maritz, Karin |
| author2 | Smit, M. |
| author_browse | Maritz, Karin Smit, M. |
| author_facet | Smit, M. Maritz, Karin |
| author_sort | Maritz, Karin |
| collection | Thesis |
| dc_rights_str_mv | University of Stellenbosch |
| description | Thesis (MMus) -- University of Stellenbosch, 2003. |
| format | Thesis |
| id | oai:scholar.sun.ac.za:10019.1/53293 |
| institution | Stellenbosch University (South Africa) |
| language | af_ZA |
| last_indexed | 2026-06-10T12:42:17.808Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from SUNScholar — Stellenbosch University Repository |
| publishDate | 2012 |
| publishDateRange | 2012 |
| publishDateSort | 2012 |
| publisher | Stellenbosch : University of Stellenbosch |
| publisherStr | Stellenbosch : University of Stellenbosch |
| record_format | dspace |
| source_str | SUNScholar — Stellenbosch University Repository |
| spelling | oai:scholar.sun.ac.za:10019.1/53293 Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering Maritz, Karin Smit, M. Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music . Recorder music -- Study and teaching Music -- Baroque influences Dissertations -- Music Thesis (MMus) -- University of Stellenbosch, 2003. ENGLISH ABSTRACT: As an instrument the recorder enjoys an active following in South African schools, in tertiary institutions and in private tuition. In spite of this healthy interest, few teachers and students are afforded significant exposure to essentially good recorder playing, nor do they receive specialised tuition in the various aspects of this field of study. The development - and popularity - of the recorder reached a high point during the Baroque era. During this period the greatest repertoire for the instrument was composed. It is to this music that the player is mostly exposed. The French Baroque falls within the broader Baroque period and has provided a substantial repertoire that is freely available and regularly performed, either as part of an examination programme or as a self-study piece at eisteddfodau. It is clear, however, that among South African recorder teachers and students, the background knowledge required for a historically informed performance of pieces from this period is generally insufficient. The reason for this could be a lack of exposure to this particular style: a problem that cannot be overcome without a concerted effort on the part of the teachers and students to redress it. The purpose of this study is to stimulate an enthusiasm for French Baroque music among teachers and students, and to provide them with a store of knowledge they can then apply in a meaningful way in practice. It is far easier for the musician of the 21st century to look back objectively at the developments of the Baroque period and to appreciate the prolific contributions of the musicians of the time. However, it is important to remember that the numerous examples, expositions and definitions left to us by the composers of the Baroque should be interpreted as guidelines, rather than rigid rules. It is of crucial importance that these guidelines - ornamentation and its conventions, articulation, variable rhythmic groupings, as well as a background knowledge of the composers and the repertoire - be subjected to an in-depth study. Subsequently, by cultivating an instinct for good taste and judgment, justice will be done to the music of the French Baroque. AFRIKAANSE OPSOMMING: Blokfluit, as instrument, geniet 'n aktiewe belangstelling in Suid-Afrikaanse skole, tersiêre instansies asook in privaatonderrig. Ten spyte van hierdie belangstelling, word min onderwysers en studente aan goeie blokfluitspel en gespesialiseerde opleiding in die verskillende fasette rakende die vakgebied blootgestel. Die blokfluit het tydens die Baroktydperk sy grootste ontwikkeling en gewildheid beleef. Dit is tydens hierdie tydperk wat die meeste repertorium vir die instrument gekomponeer is; derhalwe is dit die musiek waaraan die blokfluitspeler die meeste blootgestel word. Die Franse Baroktydperk maak deel uit van hierdie tydgleuf en heelwat repertorium is geredelik beskikbaar en word deur spelers aangebied, hetsy as deel van 'n eksamenprogram of as 'n keuse vir byvoorbeeld 'n eisteddfod. Dit blyk egter dat 'n gebrek aan agtergrondkennis om werke uit hierdie tydperk op 'n histories ingeligte wyse uit te voer 'n probleem by Suid-Afrikaanse blokfluitonderwysers en - spelers te wees. Die rede hiervoor kan 'n gebrek aan blootstelling wees. Die leemte kan nie sonder meer oorbrug word as daar nie 'n doelbewuste poging deur die onderwysers en studente daartoe aangewend word nie. Hierdie studie se doel is om onderwysers en studente se entoesiasme aangaande Franse Barokmusiek aan te wakker en kennis daaroor te laat inwin ten einde dit in die praktyk sinvol te kan toepas. Die musikant van die een-en-twintigste eeu kan makliker objektief terugkyk na die ontwikkelinge wat tydens die Baroktydperk plaasgevind het as die musikant wat in die tyd geleef het. Die voorbeelde, uiteensettings en omskrywinge wat komponiste van daardie tyd nagelaat het, moet verkieslik as riglyne geïnterpreteer word, en nie as onbuigbare reëls nie. Dit is wel van uiterste belang dat hierdie riglyne - die versieringskuns, ornamentele gebruike, artikulasie, ongelykmatige ritmiese groeperings asook die agtergrondkennis rakende komponiste en repertorium - deeglik bestudeer word. Met die nodige kennis en blootstelling sal goeie oordeel by die uitvoer van die Franse 8arokmusiek sy beslag kry. Masters 2012-08-27T11:35:24Z 2012-08-27T11:35:24Z 2003-03 Thesis http://hdl.handle.net/10019.1/53293 af_ZA University of Stellenbosch 138 leaves : music application/pdf Stellenbosch : University of Stellenbosch |
| spellingShingle | Recorder music -- Study and teaching Music -- Baroque influences Dissertations -- Music Maritz, Karin Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering |
| title | Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering |
| title_full | Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering |
| title_fullStr | Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering |
| title_full_unstemmed | Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering |
| title_short | Aspekte van die Franse barokstyl : riglyne vir blokfluitonderwysers by die aanleer van ornamentering |
| title_sort | aspekte van die franse barokstyl riglyne vir blokfluitonderwysers by die aanleer van ornamentering |
| topic | Recorder music -- Study and teaching Music -- Baroque influences Dissertations -- Music |
| url | http://hdl.handle.net/10019.1/53293 |
| work_keys_str_mv | AT maritzkarin aspektevandiefransebarokstylriglynevirblokfluitonderwysersbydieaanleervanornamentering |