Browsing by Author "Lamprecht, Dorathea Julia"

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    n Gebalanseerde musiekopvoedkundige program vir aktiewe ouer persone in gestruktureerde diensleweringsorganisasies
    (Stellenbosch : Stellenbosch University, 1994) Lamprecht, Dorathea Julia; Grove, I. J.; Howes, F.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Music.
    ENGLISH ABSTRACT: The value that music has had as a human activity through the ages justifies including elderly people as an important target group in music education. In the light of the ongoing demographic shifts in the population and future projections indicating an expanding aged population, an extension of the limits of music education to include the elderly population becomes a necessity and a responsibility. This task involves music educators and musicians. The research findings of this investigation indicate that opportunities of music education for elderly persons in South African service centres are not put to optimal use. These can be developed through knowledgeable implementation of systematic and balanced music education programmes aimed specifically at the nature of an elderly person and encompassing a variety of musical activities. The implementation of a music appreciation programme as well as instrumental teaching programme in service centres in the Cape Peninsula ran successfully with regard to achieving these aims and purposes, and met with positive reaction from members and organisers of service centres. The boundaries of the discipline were extended to accommodate the elderly. Constructive experiences occurred regarding social interaction, life enrichment and improved self-image, through intellectual stimulation, rediscovery of forgotten interests and motivation to exercise hobbies at home. Music educational activities resulted in enhanced communication and sensory and aesthetic experience, while time was spent constructively. Positive behaviour modification occurred in terms of the musical learning experience. The experiences of elderly people thus underlined the value of music as a phenomenon touching human lives at all levels. This motivates the feasibility of implementing such programmes in service centres and similar institutions for the elderly. Advantage should be taken of the influence and involvement of a community in providing a musical infrastructure for elderly people, drawing on the available expertise to realise this aim.
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    Tygerberg Children's Choir: history and identity
    (Stellenbosch : Stellenbosch University, 2021-12) Lamprecht, Dorathea Julia; Van Niekerk, Caroline; Venter, Carina; Stellenbosch University. Faculty of Arts and Social Sciences. Department of Music.
    ENGLISH ABSTRACT: This study explores the history and identity of the Tygerberg Children’s Choir (TCC) in South Africa, rooted in Afrikaner culture, and its transition to and continuation as a multicultural children’s choir. Founded in 1972, the choir and its long-time conductor, Hendrik Loock, have achieved numerous national and international accolades. Together with his wife Theresa, an accompanist, music teacher and arranger of music, Loock has been instrumental in raising the standard of school, regional, university and related choirs in the Western Cape and nationally. The dissertation uses a qualitative, holistic, single, intrinsic case study methodology to better understand TCC choir identity in the context of a drastically changed political dispensation. Drawing on archival data, non-participant observations and qualitative face to face semi-structured interviews, a reconstruction of the TCC’s identity is offered spanning 1972-2019. Identity Process Theory (IPT), as framed by Glynis Breakwell and Rusi Jaspal, provides a lens to investigate TCC group identity whilst considering social and historical contexts. As indicated for qualitative IPT work, data was analysed according to Virginia Braun and Victoria Clarke’s Thematic Analysis (TA), by applying a constructionist reflexive orientation. Conceptual preferences are informed by an idealist ontology and an integrated social constructionist/constructivist epistemology within an interpretivist worldview. This account of TCC history shows interrelated influences on processes of choir identity construction, such as cultural, geographic, socio-political and religious contexts as well as racial, language and demographic representation in the TCC, choir composition, role players and purpose intricately interwoven with the TCC’s unique choir sound, repertoire, performance style and associated artefacts. Four themes and eight sub-themes were generated from the TCC collection in the DOMUS archive holdings, ninety eight hours of non-participant observation of choir rehearsals and a transcription dataset of twenty nine interviews. The interconnected main themes indicate the influence of the conductor, adult volunteers, choristers and transformative change on TCC identity construction. The TCC has been viewed as a place of belonging for music loving children and adults and with a mutual determination for choral excellence. Success and continuity as main motivators for change and sameness and linked to the conductor’s views and personality have been suggested. Continuous financial challenges due to limited funding and of unceasing parental support and volunteerism through community service in sustaining a choral music educational cause are explored. Musically gifted choristers and their exceptional contributions in providing the choral product whilst gaining musical, educational, personal and social life skills are described. The most significant change in TCC identity is specified as becoming more representative of the country’s overall racial dispensation. Embracing diversity and multicultural enrichment and continuing social bridging whilst sustaining a dominant Afrikaner leadership core are confirmed as part of TCC identity. Accessibility is complicated by socio-economic, cultural and demographic factors which enhance exclusivity. Acceptance of challenges, acting in solving these from within their extended TCC management team and subsequently finding new meaning therein are indicated as significant coping processes in fostering this internationally rated children’s choir under one conductor for almost fifty years.