The following postgraduate students have completed their studies and will receive their degrees on 24 May (Masters) and 1 June (Doctoral).
- Dalien Ahlers (MMus)
- Reese Barkhuizen (MMus)
- Marientha Brak (MMus)
- Eulalia Johnson (MMus)
- Jaco Meyer (PhD)
- Melindie Pretorius (MMus)
- Mart-Mari Swanevelder (MMus)
- Catrien Wentink (DMus)
Dalien Ahlers‘ collective case study was inspired by two community music projects in the Vaal Triangle in Gauteng, South Africa. The participants in both cases came from deprived backgrounds where music activities, such as opera, light and popular music, were uncommon, if not absent. The focus of this qualitative, interpretative research was to explore the meaning these participants ascribe to community music activities.
The outcome of this research proved that the community music activities in both cases changed the lives of the participants and transformed them into worthy citizens of South Africa with visions for their future.
According to the eight piano teachers Marientha Brak interviewed, aural development is an important aspect of their teaching piano to young beginners. They accomplish the development of the aural skills of their students through singing, moving and improvising.
Aural development should be differentiated from aural training. Aural training includes only those aspects of aural development that can be assessed, and often implies some sense of tension on the part of the student. Aural development as a whole cannot be tested, and typically takes place in a more relaxed atmosphere.
In this study Eulalia Johnson investigated the music integration practices of five Early Childhood Development (specifically Grade RR) Practitioners by means of one on one interviews and observations of their teaching methods. The music integration practices of the five ECD/Grade RR practitioners were measured with an existing conceptual framework for music integration in Grade R. An observation of a lack of music integration in ECD Centers in Promosa motivated the study.
Jaco Meyer conducted parts of his research in Belgium and The Netherlands, expanding the theory of musical forces by analysing the music of the Belgian composer, Wim Henderickx. This research involves aspects of Music Analysis, Music Composition, Music Theory, Physics, Metaphors, and Psychology.
Melindie Pretorius‘ study explored how Dalcroze-inspired activities can facilitate collective learning in two choirs as communities of musical practices. She studied a Swedish semi-professional adult choir and a South African high school choir.
Collective learning encompasses the construction of identity, a sense of belonging and community, meaningful experiences and the learning by doing.
Mart-Mari Swanevelder explored methods of audience-development (audience building) for university symphony orchestras to ensure that audience numbers might stabilise or grow.
Catrien Wentink explored how ensemble performers understood their experiences when using Dalcroze Eurhythmics to prepare for a performance. In Dalcroze Eurhythmics music teaching is grounded in embodied experiences. The themes that emerged from the data were linked to the experience of “flow”, as described extensively by Csikszentmihalyi.