Peter Klatzow Worklist
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
University of Cape Town (UCT) in Terms of the Non-Exclusive License Granted to UCT by the Author
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town The Piano Music of Peter Klatzow A Stylistic Analysis of Selected Works Town Andries Albertus CapeOdendaal of University Thesis submitted in partial fulfilment of the requirements for the degree of Master of Music at the University of Cape Town. February 2003 Declaration I hereby declare that this thesis, submitted in partial fulfilment of the requirements for the degree of Master of Music at the University of Cape Town, has not been submitted by me previously for a degree at another university. Signed Date University of Cape Town Abstract The piano music of Peter James Leonard Klatzow forms an integral part of his musical output. An analysis of these works may provide useful insight into the compositional style of this South African composer. Jan LaRue's theory of stylistic analysis formed the inspiration for the analytical approach of the thesis, and the main focus of this analysis is the 1994 composition, From the Poets. This work is analysed in terms of use of sound, harmony and melody in order to attempt an understanding of how these elements impactTown and contribute to the sense of structure. Other works that have been completed since 1980 are analysed in terms of the main motivic and harmonicCape material, with occasional reference to other musical parameters thatof are important for an understanding of the musical discourse. -
The Technical and Interpretative Challenges in the Marimba Works of Peter Klatzow: a Performer’S Analysis
THE TECHNICAL AND INTERPRETATIVE CHALLENGES IN THE MARIMBA WORKS OF PETER KLATZOW: A PERFORMER’S ANALYSIS By Cherilee Adams Dissertation presented for the degree of Master of Music in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Professor Hans Roosenschoon (Department of Music) December 2015 Stellenbosch University https://scholar.sun.ac.za ~DECLARATION~ By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Cherilee Adams December 2015 Copyright © 2015 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za ~ABSTRACT~ Peter Klatzow (1945-) is one of the few renowned South African composers to have gained international recognition for his works. This is primarily due to his marimba pieces that are constantly prescribed for international competitions and that have formed a part of the standard repertoire for advanced and ambitious marimbists. One of the principal motivations for why these works are regularly sought-after by panel and performer alike is due to the technical demands and challenges that they possess. These technical issues are predominantly based on the performer‟s physical restrictions, their lack of tactile proximity with the instrument, and the marimba‟s resonant limitations. Not only are Klatzow‟s works technically very demanding, but also quite often challenging to interpret. -
Peter Klatzow's Six Concert Etudes for Marimba : a Performer's Guide Daniel Brian Heagney Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Peter Klatzow's Six Concert Etudes for Marimba : a performer's guide Daniel Brian Heagney Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Heagney, Daniel Brian, "Peter Klatzow's Six Concert Etudes for Marimba : a performer's guide" (2013). LSU Doctoral Dissertations. 3041. https://digitalcommons.lsu.edu/gradschool_dissertations/3041 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PETER KLATZOW’S SIX CONCERT ETUDES FOR MARIMBA: A PERFORMER’S GUIDE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in College of Music and Dramatic Arts by Daniel Heagney B.M., George Mason University, 2007 M.M. Louisiana State University, 2010 December 2013 © Copyright 2013 Daniel Brian Heagney All Rights Reserved ii ACKNOWLEDGEMENTS I would like to express my deep gratitude to Peter for composing these etudes on my behalf, and for his continued support. Thank you to all of my past teachers: Alan Johnson, John Kilkenny, Kenneth Harbison, and Brett Dietz for your guidance, support, and encouragement. Thanks to the Louisiana State University percussion studio for their feedback and inspiration over the past five years. -
Chapter 1: from Autonomy to Heteronomy: a Change of Paradigm in South African Art Music, 1980-2006
Chapter 1: From autonomy to heteronomy: A change of paradigm in South African art music, 1980-2006 Introduction Composition in South Africa has been an increasingly contested artistic and ideological space since the early 1980s. In this dissertation I argue that the demise of apartheid and the rise of democracy resulted in an institutional and aesthetic crisis for the field of composition, embodied in musical terms by a shift away from a Eurocentric paradigm to a cross-cultural one that embraced various ‘African elements’ within a framework of modernism and discourse of accessibility. In this chapter I consider the factors – both internal to the field of art music and those resulting from larger societal changes – that contributed to this artistic and ideological shift. Partly I am concerned with the politics of the field itself: the struggle for power within a highly contested cultural space. More broadly I am interested in the position of the field relative to changes in society at the macro level, in terms of race, class, and economic imperatives. A central question is, to what extent did the restructuring of the field in response to these changed imperatives affect the aesthetic choices of composers? The autonomy of art music during apartheid was challenged by the politicization of the field during the 1980s. The extent and rapidity of social and institutional change, and the new self-consciousness that it evoked in composers previously only concerned with “production for producers” (Bourdieu 1993:15), resulted in a crisis that foreshadowed an aesthetic revolution, or change of paradigm. In this chapter I present the theoretical basis for this claim and explain some of the historical reasons for its emergence. -
2016Augustoariasdissertationfi
Contents LIST OF EXAMPLES ........................................................................................................................ III ACKNOWLEDGEMENTS .................................................................................................................. IV ABSTRACT ......................................................................................................................................... VI OPSOMMING ................................................................................................................................... VII CHAPTER 1: INTRODUCTION ........................................................................................................ 1 1.1 Research problem ................................................................................................................................ 1 1.2 Purpose statement ............................................................................................................................ 11 1.3 Research questions ............................................................................................................................ 11 1.4 Research procedures.......................................................................................................................... 12 1.4.1 Research design ......................................................................................................................................... 12 1.4.2 Research approach ................................................................................................................................... -
Arias A.Pdf (5.417Mb)
Contents LIST OF EXAMPLES ........................................................................................................................ III ACKNOWLEDGEMENTS .................................................................................................................. IV ABSTRACT ......................................................................................................................................... VI OPSOMMING ................................................................................................................................... VII CHAPTER 1: INTRODUCTION ........................................................................................................ 1 1.1 Research problem ................................................................................................................................ 1 1.2 Purpose statement ............................................................................................................................ 11 1.3 Research questions ............................................................................................................................ 11 1.4 Research procedures.......................................................................................................................... 12 1.4.1 Research design ......................................................................................................................................... 12 1.4.2 Research approach ................................................................................................................................... -
University of Cape Town
Town The copyright of this thesis rests with the University of Cape Town. No quotation from it or information derivedCape from it is to be published without full acknowledgement of theof source. The thesis is to be used for private study or non-commercial research purposes only. University MUSIC FOR CLASSICAL GUITAR BY SOUTH AFRICAN COMPOSERS A historical survey, notes on selected works and a general catalogue Town Avril Kinsey Cape of University A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Music Faculty of the Humanities, University of Cape Town 2009 Supervisor: Dr Hendrik Hofmeyr ii MUSIC FOR CLASSICAL GUITAR BY SOUTH AFRICAN COMPOSERS A historical survey, notes on selected works and a general catalogue Avril Kinsey (KNSAVR001) Town Cape of A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Music Faculty of the Humanities, University of Cape Town 2009 UniversitySupervisor: Dr Hendrik Hofmeyr COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work, generated by me as the result of my own original research. Each significant contribution to, and quotation in, this dissertation from the work, or works of other people has been attributed, and has been cited and referenced. Signature: …………………………………….. Date: ………… ii Declaration This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work, generated by me as the result of my own original research. -
South African Music in Transition: a Flutist's Perspective
South African Music in Transition: A Flutist‘s Perspective by Liesel Margrit Deppe A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Liesel Margrit Deppe (2012) South African Music in Transition: A Flutist‘s Perspective Liesel Margrit Deppe Doctor of Musical Arts Faculty of Music University of Toronto 2012 ABSTRACT In April 1994 the citizens of South Africa found themselves in the unique position of contemplating a new national culture; one that would for the first time embrace all South Africans, regardless of race, colour or religion. Official segregation, which began in 1948, ended with the first democratic election held in1994. Cross-cultural awareness in South Africa emerged in the 1980s. Within this temporal context, this investigation will trace parallel developments in the South African classical music genre and will relate these developments to the concurrent socio-political environment. Looking specifically at music written for the flute, the selected works were composed for the flute as a solo instrument, or in combination with up to four other instruments by a cross-section of South African composers who either live in South Africa or who have South African roots. The works included in this study were composed roughly ten years before and after 1994; the purpose being to document the changes that were taking place in South African Art Music leading up to the first democratic election and during the exciting times that followed. -
South African Orchestral Music: Five Exponents Author(S): Veronica Mary Franke Source: Acta Musicologica, [Vol.] 84, [Fasc.] 1 (2012), Pp
South African Orchestral Music: Five Exponents Author(s): Veronica Mary Franke Source: Acta Musicologica, [Vol.] 84, [Fasc.] 1 (2012), pp. 87-125 Published by: International Musicological Society Stable URL: http://www.jstor.org/stable/23343910 Accessed: 22-06-2017 13:27 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms International Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to Acta Musicologica This content downloaded from 146.230.187.77 on Thu, 22 Jun 2017 13:27:52 UTC All use subject to http://about.jstor.org/terms South African Orchestral Music: Five Exponents* Veronica Mary Franke University of KwaZulu Natal (Critical literature devoted exclusively to the development of orchestral music in South Africa is relatively sparse. No book chapters or books in their entirety are dedicated to a study of South African orchestral music; fur thermore, over the past twenty-five years, only a handful of published articles has appeared, predominantly in the South African Journal ofMusicology} In order to fill * This article is an expanded version of a paper read at the joint RMA and SMI Meeting held in Dublin, July 2009. My thanks go to the National Research Foundation in South Africa for their generous support. -
MUSIC for CLASSICAL GUITAR by SOUTH AFRICAN COMPOSERS a Historical Survey, Notes on Selected Works and a General Catalogue
MUSIC FOR CLASSICAL GUITAR BY SOUTH AFRICAN COMPOSERS A historical survey, notes on selected works and a general catalogue Avril Kinsey A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Music Faculty of the Humanities, University of Cape Town 2009 Supervisor: Dr Hendrik Hofmeyr ii MUSIC FOR CLASSICAL GUITAR BY SOUTH AFRICAN COMPOSERS A historical survey, notes on selected works and a general catalogue Avril Kinsey (KNSAVR001) A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Music Faculty of the Humanities, University of Cape Town 2009 Supervisor: Dr Hendrik Hofmeyr COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work, generated by me as the result of my own original research. Each significant contribution to, and quotation in, this dissertation from the work, or works of other people has been attributed, and has been cited and referenced. Signature: …………………………………….. Date: ………… ii Declaration This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work, generated by me as the result of my own original research. Each contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signed ……………………………….. ………………………………… Avril Kinsey Date iii Acknowledgements My deepest gratitude and thanks to my supervisor Dr Hendrik Hofmeyr for his musicological insight, impeccable attention to detail and for being a constant source of inspiration. -
String Quartets by South African Composers: a Comprehensive Catalogue and Annotated Discussion of Works Composed Between 1940 and 2016
String quartets by South African composers: a comprehensive catalogue and annotated discussion of works composed between 1940 and 2016 Hester Susanna Martens A thesis submitted in fulfilment of the requirements for the degree DMus (Performance) in the Department of Music at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES SUPERVISOR: Prof. John de C Hinch October 2017 iii String quartets by South African composers: a comprehensive catalogue and annotated discussion of works composed between 1940 and 2016 Hester Susanna Martens ‘n Proefskrif voorgelê ter vervulling van die vereistes vir die graad DMus (Uitvoerend) in die Departement Musiek van die UNIVERSITEIT VAN PRETORIA FAKULTEIT GEESTESWETENSKAPPE STUDIELEIER: Prof. John de C Hinch Oktober 2017 iv Acknowledgements My sincerest thanks to: My study leader Prof. John de Courteille Hinch, for immeasurable support and guidance. The University of Pretoria Department of Music, notably Proff. Wim Viljoen, Alexander Johnson and Denise Sutton, for their encouragement and assistance. The University of Stellenbosch composition department, notably Prof. Hans Roosenschoon and composition students, for their advice and support. Santie de Jongh, head of the Documentation Centre for Music at the University of Stellenbosch, for making information on Arnold van Wyk and Graham Newcater available. University of Stellenbosch music library staff members Esmeralda Tarentaal and Sonette le Roux, for finding what I could not find. Proff. James May and Jan du Toit, for permission to include and discuss Arnold van Wyk’s works for string quartet. Anna Joubert and Alison Grové, for permission to include and discuss John Joubert and Stefans Grové. Liezl-Maret Jacobs, for making Roelof Temmingh’s manuscripts available. -
The South African Clarinet Concerto an Examination of the Clarinet Concerto Genre Within the South African Context
The South African Clarinet Concerto An Examination of the Clarinet Concerto Genre within the South African Context Town Cape of BY Justin Munro Carter CRTJUS001 A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of Master of Music University South African College of Music Faculty of Humanities at the University of Cape Town January 2014 SUPERVISOR Emeritus Professor James May The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the NRF. Copyright © 2014 Justin Carter and The University of Cape Town. All rights reserved. ii DECLARATION I, Justin Munro Carter, hereby certify that this dissertation is my own work; that all references are accurately reported and that this dissertation has not been previously submitted in whole, or in part, for the award of any degree. Justin Munro Carter JANUARY 2014 iii ACKNOWLEDGEMENTS I would like to thank the composers for their assistance in obtaining scores and for their time, input and interest in my research, especially those that I was able to interview personally.