Over time, his focus shifted towards the organization and reform of South African music education and research, reflecting a growing emphasis on the intellectual life of universities.

This shift is evident in his inaugural professorial address, where Malan described the university as a crucial element in shaping and reflecting the consciousness of the "volk".

[7] He argued that a civilized society depends on the university's role as a research center, training hub, and cultural focal point, contributing to a vibrant intellectual life.

She argues that Malan's critique of Afrikaans church music echoes the racially charged ideologies of Apartheid, particularly through themes of Afrikaner unity and segregation.

[8] Venter also identifies themes of national goals, integration, order, and racial segregation in Malan's other work, noting that his stance on ethnomusicology was aligned with apartheid's ideals of separate development.