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Welcome to the NWU Repository, the open access Institutional Repository of the North-West University (NWU-IR). This is a digital archive that collects, preserves and distributes research material created by members of NWU. The aim of the NWU-IR is to increase the visibility, availability and impact of the research output of the North-West University through Open Access, search engine indexing and harvesting by several initiatives.

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Exploring gendered cello performance through four Romantic compositions by female composers
(North-West University, 2024) Roosenschoon, B
In this practice-led research study, I studied four Romantic sonatas for cello and piano by female composers - Henriëtte Bosmans (1895-1952), Ethel Smyth (1858-1944), Luise Adolpha le Beau (1850-1927) and Dora Pejačević (1885-1923). While studying these compositions, I explored how the preparation and performances of these works contribute to formulating a theory on the gendered performance of gendered compositional elements. First, gendered compositional elements were identified using existing literature. Thereafter, during my solo practise sessions, I explored the cello techniques that could influence gendered performance of these gendered compositional elements. Second, practise sessions with my collaborative pianist provided opportunities for further discussions and exploring musical parameters that could influence gendered performance. Finally, my reflections on the public performances of the sonatas further added to the analysis process of this research study. My exploration led to a summary of the use and purpose of solo cello techniques in gendered performance, which included vibrato, position shifting, fingering, bow control for articulation, bow control for dynamics and timbre, movement and breathing as well as a summary of adjusting tempo and balance to achieve gendered characteristics. The abstractions of the summaries of the documented findings lay the path for building a theory on gendered performance as an alternative interpretative possibility for compositions for the cello not only for these selected sonatas, but for compositions for the cello outside the historical context in which the works in this study is situated.
Lived experiences of Music and Imagery sessions during the COVID-19 pandemic: A qualitative pluralistic inquiry
(North-West University, 2024) Jerling, P. A; Van der Merwe, L; Habron-James, J
The aim of this thesis was to explore the meaning that participants ascribed to their lived experiences of Music and Imagery (MI) sessions conducted during the COVID-19 pandemic. Participants included South African self-employed music teachers who had all contracted the virus, as well as three music therapists, one from South Africa and two from Spain, who were trained in the MI method during the pandemic. The researcher was also the participant in the autoethnography. MI is a receptive music therapy method which is part of the Continuum Model of Guided Imagery and Music (CMGIM) in which the client's (participant's) preferred music is used for therapeutic purposes. Clients listen to their chosen music repeatedly while they draw, and afterwards, they verbally discuss the process, which leads to new insights. The first level on the continuum is to support the client. I wanted to know if and how experiencing MI sessions was helpful in recovering from this global traumatic occurrence. MI has not been explored as a mitigating therapeutic method during the pandemic. This pluralistic qualitative thesis comprises five articles. They include an integrative literature review, an autoethnography, a trioethnography, an interpretative phenomenological analysis and an intrinsic case study. Each article made use of a different research approach, which allowed the adoption of different perspectives and insights into the meanings that were ascribed to the sessions by the participants. The first article focused on clients' experiences of MI as depicted in the literature. In the autoethnography I had an opportunity to reflect on the meaning that I personally ascribed to MI; the data were collected during the training and directly afterwards during supervision. In the trioethnography, I, together with two other therapists, explored the meanings that we ascribed particularly to the importance of choosing of the music in MI sessions. Data for this article were collected during intervision sessions. Five music teachers each participated in individual as well as group MI sessions. Data for the IPA were collected through individual semi-structured interviews, while for the case study focus group interviews were conducted. ix After analysing the data across the five articles, I constructed the following six super-ordinate themes: 1) Music as activator: each piece of music had qualities that contributed to the engagement of the clients; 2) Emotional experiences: both positive and challenging emotions were stirred up by the music for clients; 3) Strengths and growth: through engaging in sessions, clients could realise their own strengths and experience personal growth; 4) Trusting self and others: clients experienced a sense of liberation when they trusted themselves and others; 5) Relatedness: the value of shared experiences was celebrated by clients; and 6) Spiritual experiences: surrendering to the music led to a sense of transcendence and transformation for clients. I found that these themes related to each other and furthermore that all these experiences could lead to improved well-being. This study is unique within the South African context, and findings show that MI as a therapeutic method was not only helpful to cope in difficult circumstances, but also contributed to improving well-being. The pandemic had a global impact, which makes these findings applicable to other challenging contexts and circumstances as well.
Exploring how Aural Sonology analyses of four a cappella choral works supplement analytical information produced by score analyses
(North-West University, 2024) Vrey, A; Van Rhyn, C
This dissertation is an intrinsic multiple-case study that explored how Aural Sonology analyses of four a cappella choral works supplement score analyses. This study focused on four contemporary choral works (post-2000) with particular sound effects. The chosen works are I am the voice of the wind (2011) by Gabriel Jackson, The Birth of Orc (2007) by Hendrik Hofmeyr, The Conversion of Saul (2004) by Z. Randall Stroope, and Zīles Ziņa (2004) by Pēteris Vasks. Aural Sonology is an analytical method created for electroacoustic music. Thus, using it to analyse written-out choral music is novel. My presentation and discussion of the works' spectromorphological and score analyses are followed by explications of the correlations and differences in the results of applying the two analytical methods to each work. The musical parameters that serve as subsections for my discussions were determined by my findings postanalysis and are consistent throughout. These parameters are the following: form, text, dynamics, rhythm, harmony, texture, and phrasing. After generalising my conclusions on each musical parameter in the final chapter, I considered this study's implications, the possibilities for future research, and my initial expectations of the study versus the problems I encountered during it. I found that the Aural Sonology analyses supplement the score analyses in each parameter to create a more holistic view of the works, albeit in different ways. Regarding form, the differences between the results of the Aural Sonology and score analyses make it easier to follow and learn the music. My analyses of the text using Aural Sonology supplement the score analyses by assisting with pronunciation, including diction. The dynamic profiles indicated by the Aural Sonology analyses build a foundation for what is shown in the score, allowing for the consideration of similar or different interpretations. The Aural Sonology analyses of rhythmic patterns and harmonies supplement the score analyses by making the works easier to learn as, in some cases, these aspects sound less complicated than what is indicated in the score. Regarding the texture my findings, when applying the different analytical methods, correlate and therefore provide complementary ways to listeners for their audiation of the works. Lastly, the audible phrasing supplements what is shown in the score by indicating how phrases can be started and ended and how they can be copied or improved in future performances
Migration and its impact on xenophobia in South Africa (2008-2022)
(North-West University, 2026) Mongale, CO; Venter, JCM
Since the arrival of democracy in South Africa in 1994, the country has experienced an increased influx of international migration, making the country one of the top hosts of migrants from Africa and the rest of the world. South Africa remains a preferred destination for migrants due to its economic status in Africa, as the country is one of the continent's leading economies and relatively stable democracies compared to other African countries. Conversely, more than 30 years into democracy, the country still contends with various social ills, including poor service delivery, unemployment, a high crime rate, poverty, and inequality. Due to its status of being one of the top destinations for immigrants, this has increased xenophobia in South Africa, which manifests through three identified forms, namely, violent xenophobia, institutionalized xenophobia, and digital xenophobia. In South Africa, immigrants are often blamed, scapegoated, securitized or criminalized for the social woes being experienced in the country. The occurrence of xenophobia in South Africa is in contrast to international, continental and regional frameworks on the protection of migrants and the free movement of persons. Moreover, xenophobia violates the basic human rights, as enshrined in Chapter 2 of the Republic of South Africa's Constitution (1996). Studies have shown that due to migration to South Africa, the prevalence of immigrants in the country are believed to contribute to or are responsible for the high unemployment and crime rates, that the majority of immigrants live in the country illegally, and that their presence strains the country's social welfare and social security services. Through the use of empirical data sourced from various literature, this study sought to interpret the accusations, myths and stereotypes that immigrants pose a threat to South Africa's security. For instance, in 2020, the migrant population stood at 2 860 495, in comparison to the South African population of almost 60 million people. Thus, the migrant population in South Africa made up 4.82 percent of the population. Given this reality, one should consider the claim that migrants are flooding the country, and that they strain the social welfare and public services and also increase the unemployment and the crime rates. From the study's findings, a multi-level approach to curb xenophobia is recommended in order to preserve the human security of every person living in South Africa, including migrant communities.
A theory of the dynamics of choir practices at the Drakensberg Boys Choir School during the COVID-19 pandemic: A case study
(North-West University, 2026) Louw, CH; Van der Merwe, Liesl; Jaco Kruger
The COVID-19 pandemic significantly affected society in many ways, specifically in this case choir activities, which were initially seen as potential superspreader events. In response, all choir activities were suspended globally. This qualitative case study examined how the Drakensberg Boys Choir School (DBCS) managed the challenges created by the COVID-19 pandemic. The purpose of this explanatory intrinsic case study was to develop a theory explaining the dynamics of choir practices at the DBCS during the COVID-19 pandemic. The primary research question guiding the research was: How did the choir staff experience the dynamics of choir practices at the DBCS during the COVID-19 pandemic? The first research sub-question guiding the integrative literature review in Chapter 2 was: What does the scholarly literature reveal about choir practices during COVID-19? The second sub-research question was to develop a theory: What theory explains the dynamics of choir practices during the COVID-19 pandemic, as interpreted in the context of the scholarly literature? (Discussion Chapter 5). The participants were the choir staff at DBCS. Data were collected via online and in-person interviews, email correspondence, documents and audiovisual content from social media to better understand the case. Semi-structured interviews were conducted with 12 choir staff members, including conductors, music teachers, accompanists and other staff who worked with the choir during the pandemic. The findings of this study showed that choir practices at DBCS during and after the COVID-19 pandemic could continue, survive and thrive by valuing the choir staff, choristers and their support systems. Furthermore, the choir was able to become resilient, grow and flourish through its ability to identify, evaluate and respond to the impact of the pandemic. A number of pandemic-related events served as stressors and leverage points which reinforced choir practices either positively or negatively. Choir practices addressed challenges that negatively impacted the choir's functioning (Negative Reinforcing Loops), with problem-focused or emotion-focused responses that reinforced choir practices through Positive Reinforcing and either Positive or Negative Balancing feedback loops that stabilised choral activities. Positive Reinforcing Loops included the staff who became innovative through a community of practice, supporting and learning from one another, reverting to various online formats and adapting to restricted rehearsals and performances to ensure continuity in choir practices during lockdowns and restrictions. Meaningful musical experiences in various formats generated solidarity in the choir and contributed to the collective energy that lifted morale during challenging times. The social and emotional well-being of choristers and staff played a significant role in providing stability during the pandemic. Furthermore, the choir's cultural values and the school's heritage, along with its isolated location, promoted cohesion, strengthened identity and enabled the choir to adapt, innovate and thrive, even as many other choirs globally could not continue rehearsing or performing during the pandemic.