Research

Research as a systematic investigation into a specific topic is an integral part of my composition, academic and teaching profession. My personal view is that research should entail enquiry into current aspects appurtenant to everyday life and society, as well as constructively contribute to an enhanced civilisation.

My research as musicologist reflects my work in music theory, music analysis, composition, and perception in music with the aim to add new perspectives to these topics and enhance interactions between composers and listeners. Although I work on a theoretical level, the perceptions of listeners are my point of departure. I also work with principles and theories, rather than rules of thumb. The majority of my research involves the theory of music forces as an embodied and culture-sensitive approach to music as an integral part of everyday life.

Publications

  • Meyer, R.J. 2017. Expanding Steve Larson’s theory of musical forces: Wim Henderickx’s Raga I and Raga III. Potchefstroom: NWU. (Thesis – PhD).
  • Meyer, R.J. 2013. Principles of orchestration and the analysis of musical gestures. Potchefstroom: NWU. (Dissertation – MMus).
  • Meyer, R.J. 2013. Portfolio of compositions. Potchefstroom: NWU. (Portfolio – MMus).
  • Meyer, R.J. 2010. The influence of musical analysis on composers’ awareness of structural polyvalence. Potchefstroom: NWU. (Dissertation – BMus).
  • Meyer, R.J. 2020. Music and Art for the Visually Impaired: Blind Alphabet. Paper presented at the 1st SSASEA-UNESCO Arts Education Virtual Conference – North-West University, Potchefstroom, South Africa.
  • Meyer, R.J. 2019. Moving music or music that moves – Building theories on metaphors in music. Paper presented at the South African Society for Research in Music (SASRIM) annual congress – University of Stellenbosch, Stellenbosch, South Africa.
  • Meyer, R.J. 2019. The theory of music forces as a pedagogic tool in teaching music. Paper presented at Pan African Society for Music and Arts Education (PASMAE) conference – International Conference Centre, Victoria, Seychelles.
  • Meyer, R.J. 2017. Musical forces save analysts from cumbersome explanations. Paper presented at the international conference of students of systematic musicology (SysMus) 10th international conference – Queen Mary University of London, London, Great Britain.
  • Meyer, R.J. 2017. Steve Larson’s theory of musical forces: expanding the theory. Paper presented at the South African Society for Research (SASRIM) annual congress – North-West University, Potchefstroom, South Africa.
  • Meyer, R.J. 2014. Understanding Syrinx by Claude Debussy differently – musical forces and musical analysis. Paper presented at the South African Society for Research in Music (SASRIM) annual congress – University of the Witwatersrand, Johannesburg, South Africa.
  • Meyer, R.J. 2014. Indigenous music in the classroom. Paper presented at Pan African Society for Music and Arts Education (PASMAE) conference – Cornwall Hill College, Pretoria, South Africa.
  • Meyer, R.J. 2012. To be heard and not to be seen: why music is gesturing in the dark to analysts. Paper presented at the South African Society for Research in Music (SASRIM) annual congress – Tshwane University of Technology, Pretoria, South Africa.
  • Meyer, R.J. 2011. Indigenous music and games: the role of language in adaptation and change. Paper presented at the South African Society for Research in Music (SASRIM) annual congress – Rhodes University, Grahamstown, South Africa.
  • Meyer, R.J. 2011. Analysis of new music: discovering the unseen, the forgotten and the possible. Paper presented at South African Society for Research in Music (SASRIM) annual congress – Rhodes University, Grahamstown, South Africa.
  • Meyer, R.J. & Botha, L.E. 2011. Where has the music gone in modern HaMakuya, Venda?  Paper presented at the International Council for Traditional Music (ICTM) world conference – Memorial University, St. Johns, Newfoundland, Canada.
  • Meyer, R.J. 2010. Letting go of outcomes: compositions that resist analysis. Paper presented at the IMS-SASRIM international congress – University of Stellenbosch, Stellenbosch, South Africa.
  • Meyer, R.J. 2017. Expanding Steve Larson’s theory of musical forces. Paper presented at staff colloquium of the NWU. Potchefstroom, South Africa.
  • Meyer, R.J. 2015. Enlarging the scope of Steve Larson’s theory of musical forces. Paper presented at postgraduate colloquium of the NWU. Potchefstroom, South Africa.
  • Meyer, R.J. 2011. Indigenous Venda Music and Language.  Paper presented at NWU research symposium. Potchefstroom, South Africa.
  • Meyer, R.J. 2011. Indigenous Venda Music and Language.  Paper presented at NWU research symposium. Potchefstroom, South Africa.
  • Meyer, R.J. 2019. Report on the 2019 Kevin Volans Lecture Series in Johannesburg. South African Music Studies, 39:176-181.
  • Meyer, R.J. 2019. On Composition and Teaching – An Interview with Kevin Volans. South African Music Studies, 39:182-208.
  • Meyer, R.J. 2018-2019. An integrative approach to music and theory. The South African Music Teacher, 153:24-27.
  • Meyer, R.J. 2018. Somerkersfees – Weergawes, perspektiewe en musikale kragte. Vir die Musiekleier / To the Director of Music, 38:25-37, December.
  • Meyer, R.J. 2017. Indigenous musical games in the classroom. Pan African Journal of Musical Arts Education (JMAE), 1(2):110-117.

  • Meyer, R.J. 2013. Rieger-orrel by St. George’s Anglikaanse Kerk. Nuusbrief van die Suider-Afrikaanse Kerkorrelistevereniging, 65:22, July.

  • Meyer, R.J. 2013. Huiskonserte begin posvat.  Nuusbrief van die Suider-Afrikaanse Kerkorrelistevereniging, 65:17, July.

  • Meyer, R.J. 2012. A Children’s Game: Ha Matshutshuru-banga. The Talking Drum, 36(1):13-16, Jul.

  • Meyer, R.J. 2012. Rieger orrel ly steeds onder Christchurch-skade. Nuusbrief van die Suider-Afrikaanse Kerkorrelistevereniging, 64:25, December.

  • Meyer, R.J. 2010. Ikona, a Venda clapping game. The Talking Drum, 34(2):25-26, December.

  • Meyer, R.J. 2008/2009. Fresh Connections: the 2009 New Music Indaba. Bulletin of the International Society for Contemporary Music, 7/8(1):21-22.
  • Meyer, R.J. 2014. Music as Art in the 21st Century. DEKAT, 29(5):24-25, November/December.
  • Meyer, R.J. 2014. Lloyd Webber’s Masterpiece. DEKAT, 29(4):24, September/October.
  • Meyer, R.J. 2014. Beatlemania. DEKAT, 29(3):26-27, July/August.
  • Meyer, R.J. 2014. Shake, Rattle and Roll. DEKAT, 29(2):26, May/June.
  • Meyer, R.J. 2014. The secret of Igor Stravinsky and Coco Chanel.  DEKAT, 29(1), March/April.
  • Meyer, R.J. 2013. The Piano Man. DEKAT, 28(3):24, September/October.
  • Meyer, R.J. 2013. Crown jewel from Africa. African Style, 1(1):38-39, August/ September.
  • Meyer, R.J. 2013. The African influence. African Style, 1(1):36-37, August/September.
  • Meyer, R.J. 2012. No Crippled Lion: Stefans Grové. DEKAT, 27(1):30, March/April.
  • Meyer, R.J. 2009. Afrikaans in Perspektief 2: Poësie vir Graad 11. Rustenburg.
  • Meyer, R.J. 2005. Afrikaans in Perspektief 1: Poësie vir Graad 12. Rustenburg.
  • Meyer, R.J. 2019 A Wind-Up Doll’s Dream for alto saxophone and violoncello. Bulletin of the International Society for Contemporary Music – South African Section, 18:57-61.
  • Meyer, R.J. 2015. A Portfolio of mirrors for solo violoncello. International Journal for Contemporary Composition. www.ijournalcc.com.
  • Meyer, R.J. 2013. “God is Liefde!” juig ons harte. Lied 334. (In Jordaan, G. & Kruger, D., eds. SAKOV Erediensmusiek. Orrel-, koor- en instrumentale verwerkings. Volume 3. Queenswoord: SAKOV. p. 102-104.) ISBN: 978-0-620-60152-8
  • Meyer, R.J. 2012/2013. Du bist mein Herzschlag I. Bulletin of the International Society for Contemporary Music – South African Section, 11&12:12-15.
  • Meyer, R.J. 2011. Jesus kom na Jerusalem toe. Lied 545. (In Jordaan, G. & Kruger, D., eds. SAKOV Erediensmusiek. Orrel-, koor- en instrumentale verwerkings. Volume 2. Queenswood: SAKOV. p. 108-112, 205-209.) ISBN: 978-0-620-52414-8