In the June issue of our newsletter we reported on the dozen postgraduate students who completed their Master’s and doctoral degrees earlier this year. At the graduation ceremonies of 30 July and 18 September, a further four postgraduate students received their degrees:

Dr Jana Mathee, DMus — “A practice-based exploration of collaborative music making”

The purpose of this practice-based research (PBR) study was to determine which factors may advance or hinder the creative process that is involved when a collaborative pianist and fellow musicians prepare for a performance. The research relied on the data collected over a period of eight months during which I collaborated with two independent, professional musicians while preparing and performing the selected repertoire for two concert recitals. The study involved qualitative methods for collecting and analysing data, including a literature review, documenting observations, recording field notes, written reflections in diaries, informal discussions and stimulated video recall. The findings of this study indicate that an ensemble’s shared understanding of musical breathing, expressive timing, colour and timbre, phrasing, ensemble and synergy, and character, interpretation and musicianship are cornerstones in achieving significant artistry. A cyclical and iterative preparation process, contextual mindfulness and open-mindedness enhance artistry. Open dialogue, consisting of verbal and non-verbal communication, as well as visual, physical and auditory cues, advance a collaboration characterised by artistic synergy. The musicians’ shared vulnerability and expressive refinement converted frustration into reinvigorated motivation and dedication that resulted in perseverance, adaptability and persistence, which advanced significant artistry.

Promoter: Prof Santisa Viljoen

Dr Carin Louw, PhD — “A theory of the dynamics of choir practices at the Drakensberg Boys Choir School during the COVID-19 pandemic: A case study”

In her thesis, Carin provides a theoretical understanding of how choirs adapt as dynamic, multi-layered cultural systems during times of crisis. She explains how choirs develop resilience by identifying, evaluating and responding to disruptive events. The DBCS managed these disruptions with stakeholder support and innovative, problem-focused or emotion-focused actions. Staff became a community of practice, supporting and learning from one another while adapting to online formats and restricted rehearsals and performances. Meaningful musical experiences unified the choir, lifted morale and provided stability. The choir’s cultural values, heritage and isolated location fostered cohesion, strengthened identity and enabled the choir to adapt, innovate and thrive.

Promoter: Prof Liesl van der Merwe
Co-promoter: Prof Jaco Kruger

Dr Emeka Nzelu, PhD — “Becoming a community choral conductor in eastern Nigeria through apprenticeship: A narrative inquiry”

In his thesis, he developed a novel understanding of the apprenticeship processes of ten community choral conductors.  In contrast to established Western models of choral conductor formation, which often foreground formal education and institutional training, the Nigerian conductors in this study developed through participation, observation, and apprenticeship processes embedded within their communities. Seven themes identified from the data describe this development: stratified participation, relational authority, necessity-driven agency, cultural aesthetic integration, resourceful amplification, communal validation, and courage as threshold. The Nexus Apprenticeship Model developed in this thesis extends and problematises existing understandings of apprenticeship both in choral conducting research and more broadly, providing a musical and Nigerian perspective on the complex processes by which choral singers become conductors.

Promoter: Prof Albi Odendaal

Anro J van Rensburg, MMus — “Promoting purposiveness through intentional affective musicking: An autoethnographic study”

This research was inspired by the question, “Are you sure about that?” which arose shortly after hearing Cardi B’s W.A.P. for the first time. This thesis explores how intentional affective musicking can promote purposefulness within a Christian worldview by connecting musical experience with emotional engagement, human flourishing, and purposeful living. It examines the philosophical and educational foundations for understanding music as a transformative practice, grounded in the music educator’s Christian intentionality, affect, values, and humanity’s orientation toward transcendence and purposeful existence.

Supervisor: Prof Waldo Weyer

We are also very proud of our colleague who received her doctorate at Rhodes University on 2 October:

Dr Thandeka Mfinyongo, PhD — “The voice of uhadi: An investigation into traditional instruments as ideogrammatic archives”

Promoter: Prof Boudina McConnachie