‘Ritmik och kollektivt lärande’: collective learning in a Swedish choir as a community of musical practice through Dalcroze-inspired activities

ABSTRACT

The purpose of this instrumental case study was to explore the extent to which Dalcroze-inspired activities can facilitate collective learning in a Swedish choir as a community of musical practice (CoMP). The research intervention was undertaken with an established, professional Swedish choir in Göteborg, the Amanda Sångensemblen. Data sources included in-depth semi-structured interviews, researcher field notes, observations and video recordings of rehearsals and concerts. The data were analysed within the conceptual framework of the social theory of collective learning as conceived by Wenger [1998. Communities of Practice: Learning, Meaning and Identity. New York: Cambridge University Press] and developed by Murillo [2011. Communities of Practice in the Business and Organization Studies Literature. Information Research 16 (1). http://InformationR.net/ir/16-1/paper464.html]. The findings expanded the theoretical framework of collective learning by developing superordinate themes of learning. It was found that not only Dalcroze-inspired activities but also the way of thinking and the rehearsal atmosphere all formed a part of the collective learning experiences of the Amanda choir as a CoMP.

KEYWORDS:

• Community of musical practice (CoMP)
• Swedish choral education
• Dalcroze-inspired activities
• collective learning

Disclosure statement

No potential conflict of interest was reported by the authors.

Notes on contributors

Melindie Pretorius was the music director at Durban Girls’ High School. She is a featured soprano soloist of the Durban Symphonic Choir, KZN Philharmonic Orchestra and KZN Youth Choir. Melindie completed her M. Mus (Cum Laude) and B.Mus Hon. (Cum Laude) at the North-West University, Potchefstroom. She has studied choir conducting, music education and vocal performance in Jyväskylä, Finland (2015), and the Royal College of Music, Stockholm (2016). Oxford University (UK) has endorsed her as a featured Choral Singing Scholar in 2017. Melindie has received Masterclasses in vocal performance, choir conducting and piano from professionals from the USA, UK, Germany, Ireland, Sweden, Norway, Finland and South Africa. Melindie was commissioned by the Department of Arts and Culture to present a workshop in collaboration with conductor Gerard’d du Toit, to prepare conductors and KZN choirs for the 2018 World Choir Games and Royal Schools Choral Exam. Her article on vocal pedagogy, ‘Determining suitable pedagogical approaches during the application of voce chuisa and the Zygomatic Arch’ has been published in JMAA and awarded as best fourth year music article in Africa. She has presented her Master’s research at the first African Positive Psychology Conference (APPC).

Prof. Liesl van der Merwe was awarded the degrees DMus in bassoon performance, MMus (cum laude), BMus Honours (cum laude) and BMus (cum laude) at the North-West University. She also completed a PGCE. She won the SAMRO and FAK music prizes in 1995–1996. From 2013 to 2017, Prof. Van Merwe was the director of the research niche area MASARA (Musical Arts in South Africa: Resources and Application). Currently, she is an associate professor in the School of Music at the North-West University and an honorary research fellow in the School of Music at Bangor University, North Wales. Her research interests lie in the fields of music and well-being, Dalcroze Eurhythmics, spirituality and lived musical experiences. She supervises postgraduate studies in the field of music education and also teaches research methodology, music education and bassoon. She has published articles in high impact journals such as Psychology of Music, Journal of Research in Music Education, International Journal of Research in Music Education and International Journal of Children’s Spirituality. She has examined postgraduate studies for UP, UFS, US, Rhodes and Wits and is a reviewer for academic journals. She also performs in chamber music ensembles and is the conductor of the North-West Youth Orchestra.

ORCID

Melindie Pretorius http://orcid.org/0000-0002-7203-9807

Liesl van der Merwe http://orcid.org/0000-0002-8698-7218

Notes

1 Although some of the choir members were trained and licensed Dalcroze eurhythmics teachers, the phenomenon studied was Dalcroze-inspired activities. The reason for this was because the choir rehearsals were not completely based on the Dalcroze approach, but only elements of Dalcroze eurhythmics were incorporated into the rehearsals and choir culture (Wedin, 2017), without all the members necessarily being aware of this. These activities were so integrated into the choir culture, in conjunction with other theatre and movement-based activities, that it was not always possible to differentiate between the application of Dalcroze eurhythmics and other movement approaches.

2 To protect anonymity, choir members were assigned pseudonyms.

3 This is an adaptation of the quotation ID used in the data analysis programme, Atlas.ti 7. The quotation ID first indicates the alias name of the participant and in the case of direct quotations, the paragraph number. The ID (Sven, 2) therefore refers to the participant Sven’s interview, paragraph 2 (Friese, 2012, 66).

4 Emphases added by the participants during the interviews were indicated by the use of bold and italics.

5 To preserve a measure of authenticity, I have kept the original dialogue of the participants and have not changed it to more formal English.