The use of the oboe and cor anglais in the fifteen symphonies of Dmitri Shostakovich (1906-1975)

Please read the abstract in the section 00front of this document Please note that the text on pages 6-19 to 6-22 was removed, due to an error in the scriptDissertation (MMus)--University of Pretoria, 2009.Musicunrestricte

Music journals in South Africa 1854-2010 : an annotated bibliography

Suid-Afrika se ryk musiekerfenis kan duidelik gesien word in die talle musiekpublikasies in die vorm van tydskrifte, nuusbriewe en elektroniese tydskrifte. Hierdie musiekhistoriese erfenis strek oor meer as 150 jaar. Die artikel se fokus is om ’n geannoteerde bibliografie van musiekjoernalistiek in Suid-Afrika van so vroeg as 1854 tot 2010 aan te bied. Die meeste van die tydskrifte word in die Nasionale Biblioteek in Pretoria en Kaapstad bewaar. Die artikel sluit sowel ’n kort historiese oorsig oor die ontstaan van musiektydskrifte as ’n oorsig oor Suid-Afrikaanse musiektydskrifte in. Joernale en publikasies word chronologies aangebied. Hoewel nie volledig nie, identifiseer die artikel die noodsaaklikheid van ’n omvattende lys Suid-Afrikaanse musiektydskrifte.The rich musical heritage of South Africa is evident in the number of music publications in the form of music journals, periodicals, newsletters, magazines and online magazines. This historical musical legacy spans more than 150 years. The article focuses on presenting an annotated bibliography of music journalism in South Africa from as early as 1854 until 2010. Most of the journals represented in the article are housed in the National Library in Pretoria and Cape Town. The article includes a brief historical overview of the genesis of music periodicals as well as an overview of South African periodicals. Journals and publications are presented chronologically. Although not conclusive, the article identifies the need for a comprehensive updated list of South African music journals.http://www.journals.co.za/ej/ejour_culture.htmlgm201

Exploring the dimensions of flow and the role of music in professional ballet dancers

Flow, also known as “the zone”, is a positive enjoyable psychological state often linked to optimal performance. The aim of this study is to explore professional ballet dancers’ subjective experiences of flow in a current performance context. Csikszentmihalyi’s (1990) model of the flow state is used for its applicability to professional ballet dancers. Furthermore, the study aims to gain an understanding of the role of music in dancers’ experience of flow. Seventeen ballet dancers from two South African ballet companies shared their experiences in separate semi-structured interview sessions. The interviews took place during the 2013 productions of Don Quixote in Johannesburg and Camille in Cape Town respectively, so that the dancers could draw on recent performance experience in their recollection of flow. The interviews were transcribed and analysed deductively and inductively using interpretative phenomenological analysis. This study found resemblances with Csikszentmihalyi’s (1990) dimensions of flow in professional ballet dancers. The three dimensions that stood out as most predictive of flow in this study were the merging of action and awareness, autotelic experience and loss of self-consciousness. Music clearly played an important role in dancers’ experience of flow. Dancers’ varying levels of awareness of and engagement with music during flow could suggest differing intensities in flow among ballet dancers. The study argues that processing music places an extra demand on dancers’ concentration, which presents a unique insight into their experience of flow.http://www.tandfonline.com/loi/rmuz202016-05-31hb201

The role of personality and self-efficacy in music students’ health-promoting behaviours

Evidence of the high prevalence of physical and psychological problems among professional and student classical musicians has led to investigations of music students’ health-promoting behaviours. These have indicated lower levels of engagement in health-promoting behaviours among music students compared to non-music students and resulted in the recent introduction of health education courses in a number of tertiary music education institutions. Investigations of health-promoting behaviours in a wide range of contexts have shown that personality and general self-efficacy are significantly associated with health-promoting behaviours. Although previous studies of music students’ health-promoting behaviours provide evidence of positive associations between general self-efficacy and health-promoting behaviours, the contribution of personality to health-promoting behaviours and the influence of general self-efficacy on the associations between personality and music students’ health-promoting behaviours have not yet been investigated. The current study examined associations between the personality, general self-efficacy, and health-promoting behaviours of 154 undergraduate music students. Hierarchical regression analyses showed that Conscientiousness was the most consistent significant predictor of health-promoting behaviours. Conscientiousness, Extraversion, and Neuroticism were found to predict general self-efficacy. Mediation analyses were carried out and showed that general self-efficacy mediated the associations between both Conscientiousness and Neuroticism, and health-promoting behaviours. The implications of the findings for future health education courses are discussed.http://msx.sagepub.comhj2021Musi

The role of parents in the perfectionistic tendencies of university music students

Perfectionism is a complex multidimensional state with positive and negative outcomes. Research has identified that parents could influence perfectionistic inclinations, which may lead to increased levels of anxiety and ultimately lead to maladaptive tendencies. The aim of the study is to explore the role of parents in the experience of perfectionism in South African university music students. A total of 93 BA (Music) and BMus music students from four South African university music departments participated in the quantitative study by completing the Frost Multidimensional Perfectionism Scale (FMPS). The data were analyzed according to the variables of academic institution, type of music degree, academic year of study, gender, home language, and main instrument. The results showed significant differences in BA (Music) students who scored significantly higher than the BMus students in the dimensions Parental Expectations and Parental Criticism, along with students from the African language group. The study provides valuable insight into the perfectionistic trends of South African undergraduate music students, with particular emphasis on the parental dimensions of perfectionism.http://ijm.sagepub.comhj2018Musi

Viewing the parent-teacher relationship in music education through the lens of role theory : a literature review

The relationship between a parent and a teacher can be fraught with difficulties because of role conflicts that may result from the negotiations that occur between them. We synthesized recent perspectives drawn from the research literature on parent-teacher relationships with that of role theory, and aim to demonstrate how the current research literature can be used to describe the roles of parents and teachers and their relationship to one another in music lessons. Our findings indicate that parents often play multiple roles such as home supervisors, supporters, providers, role models, partners in education, and consumers, whereas teachers may play the roles of professional musicians, educators, partners in education, and role models. We argue that roles should be understood as resulting from interaction and negotiation between parties in a relationship, and suggest that concepts from role theory are helpful tools for the reconceptualization of parents’ and teachers’ roles.https://journals.sagepub.com/home/updhj2022Musi

Parents and group music lessons : a role theory perspective for music teacher educators

This collective case study aimed to explore the various expected roles for parents of preschool children in group music lessons in the Klang Valley of West Malaysia, the area located around Kuala Lumpur. We collected data by conducting two semi-structured interviews with 10 parents and three teachers of three preschool group music classes. Four broad themes emerged. Participants viewed parents as playing the roles of supporters, practice supervisors, role models, and consumers. We propose that a flexible understanding of role is essential in crafting meaningful relationships between parents and teachers and suggest the approaches that might assist future music educators to develop such a perception.https://journals.sagepub.com/home/JMThj2022Musi

Towards a precise calculation of the total intended duration of Luciano Berio’s Sequenza VII for Solo Oboe

The score of Luciano Berio’s Sequenza VII for solo oboe exhibits a strict and definite temporal space, yet most performers do not manage to perform the work within the prescribed time. The score is presented as a matrix with thirteen lines and columns and each line undergoes a temporal compression. The impetus of this practitioner-based study was driven by a need to find a method of performing the unusual time increments and to be as close as possible to the composer’s intent regarding the temporal grid. The aim of this study was to investigate and demonstrate a method of calculating and performing the intended duration of Sequenza VII so that the performance realises the absolute duration intended by Berio. Two methods were used to calculate the total duration of the composition. The result of the precise calculation of the predetermined total duration of Sequenza VII is six minutes and thirty seconds, and therefore refines the results of previous explorations of this subject by other scholars.http://www.tandfonline.com/loi/rmuz202021-02-07hj2020Musi