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05 September 2018 Photo i-Stock
Save money and conserve the environment
Print only when it is necessary: Save money and conserve the environment.
Postgraduate students are often faced with the dilemma of not knowing whether to print or not to print their theses and dissertations for assessment. This may be because of the preference of different examiners. 

According to Dr Emmie Smit, Head: Academic Writing at the UFS Postgraduate School, students often spend a lot of money printing copies of their theses or dissertations and use expensive binding, only to find out that most examiners prefer electronic copies.
 
Supervisors should find out from examiners prior to submission whether the examiner prefers printed or electronic copies. In this way, students can save money and paper which will help to conserve the environment. When requested for assessment, hard copies need to be neatly bound. However, expensive binding is also not necessary. Stapling and ring-binding are acceptable and cost-effective.

Students are then required to submit the electronic and/or hard copies to the Postgraduate Student Academic Services. The UFS only requires an electronic copy of the after-assessment or final thesis/dissertation to be submitted to the UFS library for the database. 

The format and length of dissertations and theses are determined by faculty- or department-specific guidelines. However, they should be in academic style, with consistent formatting, and scholarly content. Students need to note that the UFS does not require students to print copies as gifts to supervisors, examiners, or friends and family.

Read the Policy on Master’s and Doctoral Studies to learn more

News Archive

UFS hosts a successful New Music Indaba
2015-08-18

  

Held at the University of the Free State’s Odeion School of Music (OSM), the NewMusicSA’s New Music Indaba 2015 featured works which Clare Loveday described as “breathtaking, discreet, and perfectly balanced.”

Loveday, one of South Africa’s acclaimed music critics and was Composer-in-Residence for the annual Johannesburg International Mozart Festival, attended the Indaba from 21-26 July 2015. In a review of Saturday’s gala concert, she referred to recitals of this nature as an “essential part of the South African musical landscape, providing musicians and composers a space in which to express their world.”

Staff and students of the OSM were extensively involved in facilitating the festivities as a symbol of commitment to South Africa and international contemporary art music. The OSM Camerata under the baton of Xavier Cloete performed two works by South African composer Hendrik Hofmeyr well as a work by young Argentinian composer Diego Soifer entitled Mille Regretz .The festival featured music theory lectures, a variety of workshops, roundtable discussions ,concerts as well as an outreach programme.

Loveday described the highlight of her Indaba experience as “A delicate construction of sounds and silences that drew the listener into a focused and intense sound world,” a highlight created by the visiting German composer, Charlotte Seither’s “Far From Distance” for piano, clarinet, and cello. The concert evening culminated with Diale Mabitsela's "Friday Nights at Six," adding to the spectacular nature of the festival.

Throughout the week, classical chamber works featuring South African New Music Ensemble (SANME), the Choir of Christ Church Arcadia, and the Odeion Vocal Consort were performed and well-received. Bringing the five-day event to a conclusion was a choral mass at the Bloemfontein Anglican Cathedral, featuring an “Agnus Dei” written by George T. King.
 
Douglas Scott, Curator of the 2015 Indaba, reflected on it as a great success, saying that, “most of the participants agreed the event was a wonderful opportunity simply to hear different voices from the composition community juxtaposed with one another.”

From Scott’s perspective, the principal goal was to foster communication between artists with different visions, and to reach out to the local community.

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