Theses and Dissertations (Music)

Permanent URI for this collectionhttp://hdl.handle.net/2263/31921

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Exploring portrayals of homosexuality in Germany in Jake Heggie's For a look or a touch: a combined practice-led and hermeneutic study
Hannay, Brett (University of Pretoria, 2026-02-16)
The purpose of this study is to explore the portrayals of homosexual experiences of men living in Germany before and during World War II in Jake Heggie’s song cycle For a look or a touch. The cycle was a collaboration between Heggie and Gene Scheer (the librettist), and was commissioned for one of the Holocaust Remembrance Day concerts in Seattle, D.C., in 2007. Even though there has been great progress towards equality, there are still many places in which homosexuality is a crime, punishable by fines, imprisonment, and sometimes, the death penalty. Given that this oppression is still happening today, it is important that the experiences of homosexual victims of the Holocaust be heard. By researching and performing For a look or a touch, readers, audiences, and performers alike are given an opportunity to mourn and remember the atrocities faced specifically by the homosexual community, both past and present. The literature review focuses on the experiences of homosexuals during the interwar period and WWII, which allows for a deep delve into the experience of living in Nazi Germany. Hermeneutic and practice-led methodologies were combined to answer the research questions. Hans Georg Gadamer’s hermeneutic circle, and the cyclical approach thereof, informed the close reading of For a look or a touch. The close reading was historically informed, while I oﬀer technical and interpretative insights that I gleaned from learning the song cycle for my MMus performance recital. As part of the close reading, the recordings of Morgan Smith’s performance of the cycle were analysed and his interpretation was compared to my own. Through this comparison, more than one perspective is oﬀered, which allowed me to clearly paint how Heggie’s musical style allows for diﬀering interpretations.
The lived experiences of undergraduate music students with ADHD at a South African tertiary institution
Swanepoel, Vianca (University of Pretoria, 2025-10-20)
Attention-deficit hyperactivity disorder (ADHD) is acknowledged as one of the most common neurodevelopmental disorders, impacting approximately 2.58% of the global population. Students diagnosed with ADHD often face significantly greater challenges in academic performance and in managing mental health stressors throughout their tertiary education in comparison to their peers. Considering the extensive research that underscores the effects of ADHD on students within various educational settings, there exists a notable deficiency in studies that specifically address the experiences of music students with ADHD. This dissertation examines the lived experiences of undergraduate music students with ADHD at a South African tertiary institution. It explores how students perceive and manage their ADHD in both musical and academic contexts. Guided by a constructionist epistemology and the theoretical lenses of Complementary Cognition and Ecological Systems Theory, an Interpretative Phenomenological Analysis (IPA) was conducted using face-to-face, semi-structured interviews with eight formally diagnosed Bachelor of Music students (two females, six males; 18–25 years) at the University of Pretoria. The analysis identified four overarching themes and several subordinate themes related to: (1) the experiences of diagnosis and medication of ADHD among music students, (2) ADHD and the music student, (3) the coping strategies used by music students with ADHD, and (4) the recommendations for support within the degree programme for music students with ADHD. The study provides practical insights for programme design (assessment spacing, timetabling, studio/ensemble pedagogy), staff development (neuro-inclusive practices), and student services (mentoring/coaching). It offers a contextually grounded evidence base from South Africa and outlines directions for future research, including multi-site and longitudinal studies.
Exploring personality traits of orchestral conductors: associations with musical leadership in South Africa
Van der Merwe, Schalk J (University of Pretoria, 2025-08-31)
This study explores the relationship between personality traits and musical leadership among conductors with proven experience leading South Africa’s professional orchestras. In a country characterised by inequality, limited infrastructure, and cultural diversity, conductors must navigate complex musical, interpersonal, and organisational challenges. Despite growing international interest in conductor leadership, there is limited research on how conductors’ personality traits influence their leadership styles. A mixed method convergent parallel design was used in this study. Thirty-one conductors provided quantitative data via the Big Five Inventory (BFI-44). A selected respondent subgroup participated in semi-structured interviews, yielding qualitative insights. Quantitative results indicated high levels of Openness, Conscientiousness, and Agreeableness, as well as low levels of Neuroticism, and varied levels of Extraversion among conductors. Qualitative data revealed that participants viewed personality traits as a means to adapt their leadership approaches to the cultural and interpersonal contexts in which they operated. Lower-order traits, such as imagination, emotional intelligence, and warmth, are essential in South African orchestras due to cultural and socioeconomic expectations. The research contributes to the literature on personality-based music leadership in postcolonial, resource-constrained settings. The findings provide practical guidance for conductor training and self-reflection and lay the groundwork for future research in diverse orchestral contexts.
Producing excellence: a historical case study of the music curriculum at the Drakensberg Boys' Choir
Anderson, Bronwen (University of Pretoria, 2025-08-04)
The Drakensberg Boys’ Choir (Drakies) has made an important contribution to the music landscape of South Africa since its inception in 1967. It has offered music education to boys of various backgrounds and ethnicities, even when it was controversial to do so. Several studies have been conducted on aspects of Drakies such as its inception, history and model of education using the medium of music, its contribution to music culture in South Africa as well as its contribution to nation-building in post-apartheid South Africa. However, no historical case study of the Drakie music curriculum has been undertaken. This qualitative study addresses the gap by investigating what aspects of the Drakie music curriculum have aided excellence in music over the years. The research question is answered by means of a historical case study analysis involving semi-structured interviews with sixteen past conductors of the choir, and detailed document analysis of archived curricula. Five themes emerged during data analysis, namely The Choir, The Music Curriculum, Music Excellence, The Environment, and The Value of Choral Music. Key features of the Drakie music curriculum were found to be the Concert Status Programme and the Passing System. The particular context in which the curriculum is offered at Drakies is shown to contribute to shaping boys holistically for excellence in music. Aspects of the broad music curriculum, that proved to be significant in the pursuit of excellence, are discussed. These findings align with literature on the cultivation of excellence in music and offer valuable new insights into what appears to be a comprehensive music curriculum in South Africa.
Exploring the benefits of string quartet tuition for tertiary-level violin students in South Africa
Van Staden, Ané (University of Pretoria, 2025-09)
This study investigates the potential benefits of string quartet tuition for tertiary-level violin students in South Africa. The research addresses a gap in the literature concerning the integration of string quartet teaching within undergraduate violin instruction and explores how such engagement can support the development of technical and interpretative skills in solo violin playing. Adopting a qualitative action research design grounded in interpretative constructivism, the study involved violinists who participated in weekly individual and string quartet lessons over one academic semester. Data were collected through field notes, video recordings, and semi-structured interviews, and analysed using reflexive thematic analysis. The findings reveal that string quartet tuition contributed meaningfully to the participants’ bow control, intonation, left-hand coordination, expressive fluency, ensemble communication, and emotional regulation. The quartet setting promoted shared responsibility, interpretative awareness, and responsive musicianship, resulting in increased performance confidence. The study highlights the value of integrating structured string quartet tuition into tertiary violin education, not as a supplementary activity, but as a central component of musical training. Despite the limited sample size, the findings offer a meaningful perspective on how string quartet participation can enrich violin instruction in the South African context. By combining individual lessons with collaborative ensemble work, the string quartet emerged as an effective teaching environment that supported both technical development and artistic identity. In environments marked by diverse student needs and limited resources, quartet tuition presents a cost-effective model capable of advancing musical skills, fostering student agency, and enhancing psychological performance resilience.
Exploring the role of music listening in cancer care : a systematic literature review
Thornton-Dibb, Sarah (University of Pretoria, 2025-02)
Cancer is a worldwide health concern with a high mortality rate. Along with this high mortality rate, individuals diagnosed with cancer face multiple challenges. This systematic literature review aimed to explore the role of music listening in cancer care, specifically looking at what types of interventions are used and what role music listening can play for individuals diagnosed with cancer. Thirteen papers met the inclusion criteria set out for the study. Thematic analysis of the findings from 13 articles demonstrates how music listening supports symptom reduction, coping, enhanced quality of life, cognitive benefits, and a sense of connectedness. In addition, the findings showed the different types of music listening interventions used in cancer care settings, which included: Guided Imagery and Music (GIM), pre-recorded music (e.g., CD players), live music listening, music and imagery, receptive music therapy, and combined group receptive music listening interventions. The findings also demonstrate that music listening as a non-pharmacological intervention is not only deemed effective but also feasible, cost-effective, and non-invasive in the context of cancer care. Recommendations for further research are suggested, specifically looking at the implementation and duration of interventions.
Music therapists' experiences of singing as self-care
Jardim, Kayla Madeira (University of Pretoria, 2025-05)
This study explores music therapists' experiences using singing for self-care (SfSC) and its impact on their personal well-being and clinical practice. Through an interpretative phenomenological approach, this study aimed to understand how music therapists engaged with singing as a flexible, adaptable, and accessible self-care practice. Participants (n=5) participated in a four-week program involving journal reflections on self-care, vocal improvisation, self-composed songs, and singing a favourite song. Data were gathered through semi-structured interviews. Key findings indicated that singing for self-care was enjoyable and provided emotional and psychological benefits, such as reduced stress, increased self-awareness, and improved emotional expression. Despite these benefits, participants faced challenges such as time management and mental health obstacles. Individual differences in preferences and engagement were observed, highlighting the need for tailored self-care strategies. Four key themes emerged: accessibility and playful engagement; work-life balance and the practical challenges of self-care; singing as a reflective practice; and the impact of SfSC on clinical readiness and professional presence. This study suggests that SfSC can be a valuable addition to existing self-care practices for professionals in high-stress environments, particularly in healthcare settings. Future research is recommended to explore the long-term effects of SfSC through longitudinal studies and to include a broader range of professionals to better understand the sustainability and adaptability of this practice in diverse settings.
Exploring self-efficacy and self-esteem in tertiary music students : a systematic review
Watters, Sinead (University of Pretoria, 2024-10)
Background: The role of self-efficacy in musicians has been a key area of inquiry in music psychology for over 20 years, resulting in a large body of research. Self-efficacy has been examined in various age groups and contexts alongside additional constructs, such as music performance anxiety, self-regulation, practice habits, and musicians' overall well-being. However, the growing volume of research has not been systematically synthesised, making it difficult to navigate and fully understand. While a meta-analysis on self-efficacy and performance exists, it excludes qualitative findings. This study aims to address this gap by systematically reviewing both quantitative and qualitative research on self-efficacy and self-esteem in tertiary music students. Objectives: This study reviewed, analysed and synthesised peer-reviewed studies investigating self-efficacy and self-esteem in tertiary music students, including both quantitative and qualitative findings, and to explore its impact on related psychological and behavioural constructs. Method: A systematic review was conducted according to PRISMA guidelines. Five electronic databases (e.g., PubMed) were searched for studies published in the last twenty years that measured self-efficacy or self-esteem in tertiary music students. Studies were screened against strict inclusion criteria, requiring samples of tertiary music students and an assessment of self-efficacy or self-esteem. Data extraction followed a standardised process, and thematic analysis was used to synthesise findings. Risk of bias was assessed across the studies. Results: From over 700 studies identified, 46 met the inclusion criteria, encompassing a total of 8 446 participants. Of the 46 included studies five were focused on self-esteem. The analysis confirmed self-efficacy’s significant role in several areas, including reducing music performance anxiety, improving psychological functioning, mediating the relationship between personality and health-promoting behaviours, enhancing self-regulation, improving practice and performance, and aiding students in making informed career decisions. Self-esteem was also found to assist with performance anxiety, emotion regulation, and coping. Despite various interventions addressing self-efficacy, none directly targeted self-efficacy beliefs. Additionally, the role of gender in self-efficacy remains ambiguous and warrants further investigation. Conclusions: The findings highlight self-efficacy and self-esteem as critical constructs in music education that should be more actively addressed and supported. Harnessing their potential could directly improve performance and learning while also influencing broader behaviours crucial for building resilience in professional music careers. As the importance of self-efficacy and self-esteem becomes more evident, music educators can better support and guide students. Future Research: Future studies should focus on larger, more diverse student samples to gain a global understanding of self-efficacy. Additionally, further exploration of gender differences in self-efficacy is essential to inform educational practices that address the unique challenges faced by women in music education.
Negotiating urbanities : an ethnography of Zimbabwean immigrants’ music informed-placemaking and musicking in Johannesburg
Mutero, Innocent Tinashe (University of Pretoria, 2024)
Abstract Zimbabwean immigrants in South Africa bring a rich heritage and unique cultural contributions to their adopted home. As a sovereign neighbouring country, Zimbabwe has distinct musical traditions and cultural practices that continue to evolve and influence new environments. This study focuses on the music-making activities of Zimbabwean immigrants in South Africa, exploring how their unique heritage shapes the cultural landscape and contributes to placemaking in their new communities. The theoretical framework for this study bands together theories of social creative placemaking, hybridity, and transnationalism, to investigate how the concept of musicking – the active engagement with music-making, listening, and sharing – shape the experiences of immigrants in their new social and physical environments. The study followed a qualitative approach, nested in a focused ethnography design. Study participants were selected among Zimbabwean musicians and audience members in Johannesburg using a multi-stage random purposive sampling strategy. Data were gathered through participant observation at music rehearsals, performance venues, and churches, as well as through semi-structured interviews and focus group discussions. Thematic data analysis was employed to discover codes, patterns, and themes from the spoken and non-verbal material collected during fieldwork. Additionally, content analysis was applied to selected songs, using both literal translation for direct meaning and contextual translation for cultural and nuanced understanding. The research findings reveal that Zimbabwean immigrants use music to mediate social connections and construct diasporic communities, thereby resisting cultural death. Their musicking and placemaking practices counter hegemonic narratives of crisis and instability by creating sociocommerscapes and adjusting to their adopted home. Zimbabweans have effectively used music to discover new ways of being and connecting in the diaspora, giving character to place. For them, music is not just sound but a partnered social phenomenon that helps them navigate everyday challenges, celebrate life amidst the complexities of immigration, and negotiate their identity, wellbeing, and social position. Cognisant of the immigration crisis and the legitimate fight against xenophobia, this study concludes that there is a much richer range of experiences of sociality and social cohesion experienced by non-South Africans in Johannesburg, especially at sociocommerscapes where music facilitates inclusive negotiation of social relations and everyday citizenship.
Afrikaans art songs as teaching material for undergraduate classical singers a pedagogical guide
Venter, Eulandri (University of Pretoria, 2025-02)
This study investigated Afrikaans art songs as voice training material to address aspects of vocal technique in undergraduate singers. The Afrikaans art song is a vocal music genre for solo voice with piano accompaniment which originated in South Africa more than a century ago. Extensive contributions were made to the genre by historical figures such as Stephanus Le Roux Marais and Rosa Nepgen. Notable South African composers including Niel van der Watt, Hendrik Hofmeyr, and Martin Watt still contribute repertoire to the genre. Pedagogical investigation is needed to prepare 21st century voice teachers to teach these songs since they still form part of examination curriculum at many South African institutions. However, there is a significant research gap pertaining to their use as teaching material. A pedagogical guide containing analyses of 10 Afrikaans art songs by different composers stemmed from this thesis. The songs were analysed according to guidelines created for this study. This guide includes English translations, IPA, and demonstrations for studio use of the songs. It shows how each song may be used in its entirety as part of a repertoire-based approach to teaching singing. Potential technical challenges were identified and corrective exercises were suggested. Semi-occluded vocal tract (SOVT) exercises and kinesthetic singing tools were included as corrective exercises. In addition, the guide illustrated how passages from the songs’ vocal lines may be used as exercises for vocal development. This was done by translating the vocal line passages to numeric patterns and grouping them into categories of vocal exercises. This is a qualitative, literature-based study situated in an interpretivism-constructivism paradigm. A content analysis was implemented within an evidence-based voice pedagogy framework where voice research and practice knowledge were integrated throughout. Findings revealed that each song offers unique characteristics to target technical principles.
The use of vibrato as a diagnostic tool in the pedagogy of singing in the Western classical tradition
Ferreira, Andries Jacobus (University of Pretoria, 2024-10)
Vocal vibrato is a feature of singing highly associated with the Western Classical tradition. The researcher assumes the position that vibrato is a discernible acoustic outcome of singing habits and is therefore a useful diagnostic tool that can support the process of identifying the aspects of singing that require attention and determining a set of pedagogical interventions. Research on the topic of vocal vibrato is multi-disciplinary in nature with much of it being pursued outside of the domain of singing pedagogy. Information is therefore often difficult to decipher given the use of methodologies and terminology not immediately associated with the discipline of music education. This represents a barrier that makes it difficult for singing teachers to assimilate the extant knowledge of vocal vibrato so that it may inform teaching strategies. As such, an integrative literature review of peer-reviewed research across multiple disciplines between 2014 and 2022 was conducted in order to take stock of the extant knowledge of vocal vibrato and to present it in a way that is user-friendly for singing teachers. Two major trends in the literature relate to the two most significant parameters of vibrato, namely vibrato rate (VR) and vibrato extent (VE). The research demonstrates that VR plays a significant role in the perception of tone colour, is subject to neurological arousal and can potentially be regulated by the use of imagery-related exercises and the selection of performance pieces with varying degrees of emotional content. VE exhibits high degrees of variability, is utilised as a device with which to vary tonal qualities in the differentiation between genres such as Western classical art songs and opera and vocal modes such as solo and group singing. It is highly susceptible to neurological mechanisms associated with auditory-motor control. The ability to utilise VE explicitly may be inculcated through exercises that promote sensory acuity and greater agility in the coordination between the respiratory and phonatory muscles.
Performances of femininity in Amy Crankshaw's 'The Apothecary'
Watson, Kate (University of Pretoria, 2024-04)
South African composer Amy Crankshaw’s 2020 chamber opera, The Apothecary, co-created with British librettist Clare Best, portrays performances of femininity in complex ways. This study presents a qualitative analysis of performances of femininity in The Apothecary, while drawing on the composer and librettist’s feminist perspectives and interpretations of femininity in contemporary opera. A qualitative methodological approach is used within a broader framework of feminist phenomenology, within a hermeneutic paradigm. Semi-structured interviews with Crankshaw and Best delved into their perspectives on femininity, and the intention and creative process for The Apothecary. An analysis of the score and video recording of the 2021 Guildhall School of Music & Drama premiere of the opera was conducted to explore the intersections between text, music and drama in creating and reinforcing depictions of femininity. Findings show that The Apothecary displays nuanced and ambiguous performances of femininity and provides a criticism of the male gaze through musical, textual and visual elements. This study is the first comprehensive investigation of a South African female composer’s operatic work, and the first to specifically focus on the performances of femininity. The insights gained from this study may stimulate conversations amongst creatives within the contemporary opera industry and allows for discussions to be had on the effectiveness of opera as a form to display differing performances of femininity and female agency.
Music therapy as part of postpartum care to support emotional wellbeing
Schmidt, René (University of Pretoria, 2024-03-31)
mental health during the postpartum period is a neglected area of health care in the South African context which may significantly contribute to maternal mortality and morbidity rates in South Africa. This qualitative study aimed to explore how music therapy can offer emotional support to mothers in the postpartum phase. Four self-referred mothers participated in seven group music therapy sessions. Sources of data included four semi-structured individual interviews and ten excerpts from videos of the music therapy sessions. Thematic analysis of the interview transcripts and thick descriptions was undertaken. Four themes were developed: (i) Music therapy afforded nurturing of the self; (ii) Music therapy afforded empathic connections and experiences; (iii) Music therapy stimulated inner resourcefulness; (iv) Music therapy helped to restore emotional equilibrium in the new role as a mother. Findings aligned with existing literature on music therapy with postpartum clients and may be integrated with other research efforts on how to provide a continuum of care to postpartum mothers.
Exploring group music-making experiences of lower elementary third culture kids and English language learners at an international school in Beijing
Halton, Liane (University of Pretoria, 2024-03-15)
The study explores the group music-making experiences of Third Culture Kids (TCK/TCKs) and English Language Learners (ELL/ELLs) at an international school in Beijing. While international schooling offers unique advantages, it can also be a source of anxiety for TCKs and ELLs. As expatriate learners, TCKs need to adapt to new academic environments, interacting with peers from diverse cultures and in unfamiliar languages. ELL learners face the challenge of meeting academic and cultural standards in a second language and interacting with peers and teachers from various countries. Literature has demonstrated that an education in music provides academic, social, and emotional benefits. Limited research on group music-making experiences for TCK and ELL learners in international schools is available. Data from observations of two group music-making lessons, learner drawings, and descriptions were analysed to present a triangulated view of the group music-making experiences of TCK and ELL learners. The findings indicated that group music-making activities facilitated multisensory learning experiences and the development of collaborative and social-emotional skills for TCK and ELL learners. The study shows the importance of incorporating group music-making activities into international school music programs to address the challenges experienced by TCK and ELL learners. The study fills a gap in the literature and offers insights for music educators and researchers in international music education.
The lives of important contemporary Zulu composers and their contribution to choral music in Kwazulu/Natal
Dumakude, Vuma Jonathan (University of Pretoria, 1996)
no abstract
Telling your story, together : musical collaboration as a resource for intellectually disabled persons who communicate without speech to express a self-determined narrative in music therapy
Raven, Michael Robert (University of Pretoria, 2023-11)
This study explores the ways music therapy, and in particular, collaborative music making allows the expression and configuration of non-verbal narratives. It presents three cases of music therapy with intellectually disabled persons who communicate primarily without speech. Each case is presented individually. In total, 21 sessions of music therapy were analysed. Reflexive Thematic Analysis and Arts Based Methodology were used to generate main themes for discussion. Across the full dataset, 13 main themes were identified, organised collectively into five overarching themes. 1) Embodied Themes featured: a) Embodied Communication; b) Navigating Interpersonal Dynamics and Expectations Without Words; and c) Unspoken Understanding and Connection: Conveying With The Body. 2) Identity Themes included: a) Defining Characters; b) Navigating Interpersonal Dynamics and Expectations in the Music; and c) Making Contact and Meeting in the Music. 3) Presence Themes were: a) Presence Invites Presence; b) Supporting Authentic Expression; and c) Listening and Leaving Space. 4) Dialogue Themes were: a) Musical Dialogue; b) Making Meaning Through Interaction; and c)Channels of Dialogue - Establishing and Configuring Narrative. 5) Mystery Themes included a single main theme: a)The Unknown as a Path to New Stories. The findings point to the immense value of clinical improvisation in fostering musical dialogue and establishing shared meaning where words are not accessible. Relevant musical and interpersonal tools used in this endeavour, as well as emergent narrative structures, are explored. This study also highlights key factors that promoted the development of the therapeutic relationships, namely: reciprocity, respect and a radical openness to non linguistic modes of connection. Non-verbal narratives seem to operate differently to verbal ones, and so effective dialogue calls for a relationally focused way of being present that fosters acceptance and collaboration.
Dyadic music therapy in the context of substance use disorder
James, Alexandria (University of Pretoria, 2024-02-14)
One of the most detrimental effects of a substance use disorder (SUD) is the breakdown of meaningful familial and interpersonal relationships. In this qualitative study, I aimed to explore the experiences and reflections of persons in treatment for SUDs and their close family members or partners in a dyadic music therapy assessment phase. By utilising Thematic Analysis (TA) informed by Interpretative Phenomenological Analysis (IPA), I sought to explore the meanings, perceptions, and the impact of music during a music therapy assessment phase on the recovery process within the context of dyadic relationships. Sessions for this study took place at an out-patient community-oriented rehabilitation programme in Pretoria and consisted of two 45–60-minute assessment sessions with three dyads. The first was structured as an interview, with the option for actively using music. The second was a semi-structured music therapy assessment session. The study found that six overarching themes emerged out of the music therapy assessment across all three dyads, with each presenting in different and complex ways in each case. The affordances of musical engagement in the process could be summarised as inviting an alternative form of communication, offering opportunities to reflect on the nature of the relationship, offering playful and/or explorative way of being together, offering opportunities to reflect on the substance use journey, offering a space to explore needs, and addressing resources and fostering ambition.
Harmonising identity : a narrative exploration of masculinity and emotions in adolescent school boys undergoing disciplinary action through group music therapy
Negota, Lutendo Ndivhuwo (University of Pretoria, 2024-02-14)
This study examined how adolescent participants who are experiencing disciplinary action at their school explore masculinity and emotions through narrative music therapy. Four male participants from a private high school in South Africa attended eight sessions over four weeks. Seven main themes were identified through narrative thematic analysis: Music therapy offers boys an appealing space within which to explore experiences, thoughts and togetherness; Music therapy offers a reflective space to explore identity; Music therapy offers a constructive relational space; Music therapy offers boys a play space for engaging in emotional expression and exploration; Music therapy can facilitate exploration of societal norms of masculinity; Music therapy can facilitate exploration of alternate narratives of manhood; Music therapy can facilitate space to explore hopes for the future. This dissertation discusses these themes in detail and offers reflections on these insights for therapists working in similar contexts.
Generalist intermediate phase teachers’ experiences of teaching mathematics through music integration (Gauteng, South Africa)
Hendriks, Marna (University of Pretoria, 2023-08-31)
By embracing the influential role of music in education, teachers can establish an environment that nurtures learners' curiosity, creativity, and enthusiasm for acquiring knowledge. Research suggests that incorporating innovative teaching approaches into pedagogy can promote deeper learning and inspire learners. Viewed through the framework of constructive alignment, this thesis introduces a qualitative, single case study delving into how generalist teachers experienced and perceived the integration of music and mathematics within an educational framework. Central to this study were the integrated music-mathematics lessons. These lessons combined interactive, creative, hands-on, and collaborative elements. Rooted in a constructivist approach, the research findings highlight the significance of maintaining a balance between a learner-centred approach and providing adequate teacher support. The outcomes suggest that effectively incorporating music into mathematics instruction does not demand formal music qualifications or advanced musical proficiency. Moreover, the research underscores the significance of adapting teaching methods and activities to accommodate diverse learning preferences. Ultimately, the findings illustrate that the integration of music and mathematics not only enriches the learning experience for learners but also enhances teaching possibilities for educators.
Vibroacoustic therapy and its effects on the attention of children with autism spectrum disorder
Moore, Janelle Ada (University of Pretoria, 2024-02-13)
Attention challenges are common among children with autism spectrum disorder (ASD), as evidenced by observable behaviours and brain structure (Janzen & Thaut, 2018). Attention challenges seen in ASD are linked to poor socio-communication and emotion regulation skills (Beckwe et al., 2014; Janzen & Thaut, 2018; Leitch, 2017; Lutz et al., 2008; McRae et al., 2012). This mixed methods study investigates Vibroacoustic Therapy (VAT) as a potential intervention for children with ASD, focusing specifically on its effects on attention and its link to emotion regulation. The study also aims to understand the experiences of children with ASD undergoing VAT to determine its feasibility as a therapeutic intervention. The pilot study involved 18 children (n=18), with nine in the treatment group and nine in the control group and three in the pilot group. It also involved the teachers of the children in the treatment and control groups. The study commenced with a pilot phase involving the pilot group, after which the treatment and control groups underwent 10 20-minute VAT sessions over six weeks. The study used a concurrent design, collecting independent quantitative and qualitative data throughout and integrating them in the interpretation phase. Quantitative components included attention assessments (NEPSY-II and JTAT) and teacher questionnaires which assessed sustained, selective, alternating, and joint attention, common challenges in children with ASD (Allen & Courchesne, 2001; Warreyn et al., 2014). Tests were administered before, halfway through, immediately after, and one week after the intervention to measure effects over time. Qualitative components included observations and creative semi-structured interviews, exploring the children's experiences of VAT. Findings indicated significant improvements in joint attention and positive experiences in emotion regulation, positioning VAT as a valuable intervention. The study confirms the acceptability and feasibility of VAT, emphasising its potential for integration into therapeutic programs, therapy practices, and school sensory rooms. However, one may need to adapt the intervention to meet diverse needs and sensory profiles of children with ASD. The study provides insight into VAT as a holistic therapy approach for children with ASD, highlighting specific recommendations for future research and implementations for practice.

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