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This dissertation is a qualitative interview study conducted with staff and residents at Sparrow Rainbow Village, an HIV/AIDS community. The purpose of this research was to explore the perception of the role of music held by members for their community, and specifically its role in creating a sense of community, as well as to investigate the implications these perceptions might have for setting up a community music therapy project. The interviews revealed a struggle with establishing a community identity that embraced health, as well as feeling isolated from the greater community. Music was seen as a means of bringing people together both within the community and serving to bridge the gap with the wider community and in so doing, empowering both communities simultaneously. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2008. / Music / unrestricted

This study explored the process of negotiating music therapy in a community based setting known as The Potter’s House. The Potter’s House was established fourteen years ago as the first non-racial shelter for battered and destitute women and their children in the city of Pretoria. Furthermore, the study considers Community Music Therapy as a possible frame for music therapy practice in South Africa. The study was conducted according to a qualitative research paradigm. Three data collection sources were used to gather information about the way in which music therapy was negotiated at The Potter’s House. Data collection was in the form of interviews (conducted with the manager of The Potter’s House and the music therapy participants) as well as clinical session notes. The aim of the interviews was to explore members’ experiences and views of the music therapy process. The clinical session notes include significant information that relates to my own reflections and experiences of the music therapy process. This study seems to highlight certain factors that appear prominent in the process of negotiating music therapy in this specific shelter for battered women and their children. These factors and how they were negotiated seem to emphasize the value of a Community Music Therapy framework in the shelter context. The study further suggests that Community Music Therapy could be utilized more broadly in the South African context. / Mini Dissertation (MMus)--University of Pretoria, 2007. / Music / MMus / Unrestricted

The context for this study is a community based organization known as the National Youth Development Outreach (YDO) in Eersterust, Pretoria. This organization caters primarily for adolescents who are in conflict with the law who have been referred to YDO by the courts. YDO offers what is known as the Adolescent Development Programme as a means of social rehabilitation. This programme is based on what is known as the Circle of Courage which has its origins in the Native American approach to child rearing. This Circle of Courage has four components, namely, Belonging, Mastery, Independence and Generosity. Music therapy was introduced at the National Youth development Outreach in January 2003. My interest in the work of music therapy within this context gave rise to this dissertation. My aim in this study is to explore how music therapy can contribute to the Adolescent Development Programme and, in particular, how the Circle of Courage can inform the goals and practice of music therapy. In addition I wish to explore how music therapy practice needs to adapt in order to be relevant within such a context. The study is conducted within the qualitative research paradigm and thus seeks not to prove one single truth. This explorative study is conducted in a naturalistic setting. Data collection is in the form of a semi structured interview with 3 personnel members from the organization, clinical session notes and video recorded excerpts from two music therapy sessions. The clinical session notes form the basis of a description of the music therapy process at YDO from January to June 2003 and work with an individual client. These descriptions serve to contextualize the semi structured interview and video excerpts. The data are coded categorized and organized into themes. These themes highlight the social context in which YDO is situated which includes the individual, the organization and the community. The data highlights the primacy of the Circle of Courage within this specific context. Music as a tool for communication as well as a barometer of relationship is also discussed. This forms the basis for addressing the two research questions. This discussion focuses on the role of the Circle of Courage in informing the goals of music therapy through considering this at a conceptual level as well as viewing clinical improvisation through the lens of the Circle of Courage. The response to the second research question is from the premise of community therapy and considers the possibility of a wider application of music therapy in such a context. Music therapy is in its infancy in South Africa, especially with this client group. I am unaware of any published literature of music therapy work with adolescents in conflict with the law. Whilst this study has focused on a very small part of the whole, my hope is that it will stimulate further thinking and research about music therapy with this client group and will contribute to a broader body of knowledge. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2006. / Music / unrestricted

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.

The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area. Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music. The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement. A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches. Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators. / Art History, Visual Arts and Musicology / D. Litt. et Phil.