Staff and students are currently very engaged with journal publications and conference attendances. Please see below for an overview of some of the current outputs:
Assoc. Prof. Catherine Foxcroft
2019 (in press) Foxcroft, C.J. (2019).“Being in the Zone”: Towards a Conceptual Understanding of Flow during Optimal Solo Performance. SAMUS Volume 39. .
2015 Foxcroft, C.J. and Panebianco-Warrens, C. (2015). Exploring the Role of Pianists’ Emotional Engagement with Music in a Solo Performance. SAMUS: South African Music Studies (Formerly South Africa Journal of Musicology). 34/35 (1). p.459-498.
- 2018 15th International Conference for Music Perception and Cognition (ICMPC), Graz, Austria. Emotions and Flow in performance: the performer’s perspective (long paper). Exploring musical Flow in ensemble(poster)
- 2016 Performing Knowledge Conference, Emmanuel College, Cambridge. 25 – 26 April. Exploring the role of pianists’ emotional engagement with music in a solo performance (paper). Exploring Musical Flow in EnsemblePerformance (poster).
- 2012 12th International Conference for Music Perception and Cognition (ICMPC), Greece. Exploring the role of the performer’s experienced emotions with music during a solo performance (speed paper and poster). Publication in proceedings. ISBN 96099854-1-7.
- 2011 South African Society for Research in Music (SASRIM): The Performer’s experienced emotion while performing: Interviews with 5 professional concert pianists (paper).
- 2011 2nd International Conference for Music and Emotion, University of Western Australia, Perth, Australia The Performer’s experienced emotion while performing: Interviews with 5 professional concert pianists (speed paper and poster).
Assoc. Prof. Jeffrey Brukman
Submitted (2019): ‘Exploring the life of Winnie Madikizela-Mandela: A Close Reading of Winnie, The Opera by Bongani Ndodana-Breen.’
In press (SAMUS, 2019): ‘Arnold Schoenberg’s Opus 11/1, Friedrich Hartmann’s fully-chromaticized scales and analytical system, and the Henk Temmingh-Bernard van der Linde debate.’
In press (Musicus): ‘Formative approaches to teaching and learning Music Theory: Processes
towards true understanding.’
Brukman, J. 2018. ‘ “Less a New African Music than an African New Music”: A Close Musical Analysis of Bongani Ndodana-Breen’s Emhlabeni.’ Musicology Australia, 40/1, 1-25.
Brukman, J. 2018. ‘ “The White Claw Grabbing the Black Man’s Creative Work”: Dominant Culture and African Expression, One Festival and Two World Premieres.’ SAMUS 38, 261-288.
Brukman, J. 2018. ‘Bernard Smith van der Linde (1935-2015): A Life in Musicology.’ SAMUS, 36-37, 21-51.
Brukman, J. 2017. ‘ “Creative ethnomusicology” and African Art Music: A close musical reading of Wood and Clay, Kundi Dreams and Umrhubhe Geeste by Anthony Caplan.’ African Music, 10/3, 142-163.
Brukman, J. 2016. ‘Shifts and Turns in Paul Hanmer’s Nachtroep: A Close Musical Analysis.’ the world of music – new series, 5/2, 47-65.
Brukman, J. 2016. ‘Negotiating tonic sol-fa and staff notation: Two South African perspectives.’ Muziki, 13/2, 152-167.
Brukman, J. 2016. ‘The “Reshef Affair”: A Personal Reflection.’ SAMUS, 34/35, 69-89.
Brukman, J. 2013. ‘Cromwell Everson and Community Music-Making: The Worcester Music Group 1957-1967’. Musicus, 40/2, 22-30.
Brukman, J. 2012. ‘Dominant culture, Afrikaner nationalism, and Cromwell Everson’s Klutaimnestra’. SAMUS, 32, 1-20.
Brukman, J. 2011. ‘Aspects of musical modernism: The Afrikaans song cycles of Cromwell Everson’. Journal of the Musical Arts in Africa, 8, 1-21.
Brukman, J. 2008. ‘The relevance of Friedrich Hartmann’s fully-chromaticized scales with regard to Bartók’s Fourteen Bagatelles, Op. 6’. Theoria (University of North Texas), 15, 31-60.
Brukman, J, 2007. ‘Kárpáti’s “Mistuning” Theory Reconsidered in the Context of Bartók’s “Supradiatonicism” and Friedrich Hartmann’s Fully Chromaticized Scales’. ex tempore, (Westfield, Massachusetts), XIII/2, 36-55.
Dr. Boudina McConnachie
McConnachie, B. TBP. “Social Cohesion and Indigenous Arts Education in South Africa” in A Nation Divided? Assessing and Analyzing Social Cohesion in South Africa, edited by Justine Burns and Arnim Langer, commissioned by U.C.T. and UK Leuven, Cambridge University Press.
McConnachie, B. 2018. “Reshaping our Musical Values” in SASRIM 2017 Conference Proceedings. Edited by Mareli Stolp and Mia Pistorius.
McConnachie, B. 2018. “Bruinders, S. 2017. Parading Respectability: The cultural and moral aesthetics of the Christmas Bands Movement in the Western Cape, South Africa. A Review” in African Music Journal Vol. 10 no. 4. (p. 197-198).
McConnachie, B. 2017. “The Changing Faces of Aawambo Musical Arts. A Review“. In African Music Journal Vol. 10 no.3.
McConnachie, B. & G. Walwyn. 2016. Basic Part-time Marimba Band Reading Guide. COPA, Johannesburg.
McConnachie, B. & G Walwyn. 2016. Basic Part-time Marimba Band Theory and Aural. COPA, Johannesburg.
McConnachie, B. & G Walwyn. 2016. Basic Part-time Marimba Band Practical. COPA, Johannesburg.
McConnachie, B. 2016. My Music, My Classroom. Grahamstown, South Africa.
McConnachie, B. 2013. Listen and Learn – Music Made Easy. Grahamstown, South Africa: ILAM.
McConnachie, B. 2008. “Siaka, an African Musician. A Review” in African Music Journal Vol. 9 no. 1
McConnachie, B. 2008. “Salungano! Salungano. A Review.” in African Music Journal Vol. 9 no. 1.
McConnachie, B. 2007. “Poetry and Languid Charm: Swahili Music from Tanzania and Kenya from the 1920s to the 1950s. A Review” in African Music Journal Vol. 8 no. 1. (p. 132-134.)
Coetzer, B. 2005. “Langarm in Grahamstown: the music, the dance and the social history”. Peer reviewed journal article in The Journal of the Musical Arts in Africa. (JMMA) Vol. 2 2005 edited by Anri Herbst. UCT, Cape Town.
Coetzer, B. 2005. “Langarm in Grahamstown: The dance, the social history and the music” in Papers presented at the 18th Symposium on ethnomusicology 2004. Edited by Andrew Tracey. ILAM, Rhodes University, Grahamstown.
Last Modified: Mon, 03 Feb 2020 20:18:57 SAST