The purpose of this study is to investigate the history and development of the curriculum of the Conservatory of Music of the University of the Pacific from 1924 to 1954, and to indicate change as they occurred. The beginning point of this study was chosen because it coincides with the move of the institution from San Jose, California, to its present location in Stockton, California. Specific problems to be investigated are: (1) The history of the Conservatory of Music.; (2) Curriculum changes from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific.; (3) The Aims and Objectives of the Conservatory from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific. An understanding of the development of the past curriculum may aid in the future evaluation and development of the curriculum of the Controversy.

While many previous studies indicated that the overall number of school string/orchestra programs in the United States has increased, string/orchestra programs have been substantially underrepresented in school music curricula. In addition, the programs have been inequitably distributed geographically, and have tended to conform particular trends in their characteristics and demographics of string teachers and students. The purpose of this study was to examine the characteristics and trends in the profile of current school string programs. Also, by investigating the inception of the programs, this study aimed to identify practical ways in creating a school string program. A 37-item questionnaire was developed to collect data. The participants were string/orchestra teachers who were teaching in public schools and members of the National Association for Music Education (NAfME). A total of 130 teachers participated in this study. The result of this study indicated that string programs remain concentrated in suburban areas. Additionally, while string student population has become more diverse and reflective of the overall student population, the racial/ethnic makeup of string teachers is still predominantly White. This study also revealed that the idea of creating a new string program was most often initiated by either school music teachers or outreach program instructors/directors, and the first step typically involves discussing the idea with school administrators.

The Curriculum and Assessment Policy Statement or CAPS (which is the modified extension of the National Curriculum Statement policy), Music learning area, gives an option for Music learners to follow the Indigenous African Music (IAM) stream. This caters for them to be examined in African instruments. Currently, there are no available prescribed instrumental curricula in any IAM instrumental practices that learners can follow should they choose the IAM stream. Therefore, this research was prompted by the need for graded curriculum in IAM instruments for Music learners at the Further Education and Training (FET) level. This quantitative research focuses on the incorporation of contemporary African instrumental music practices in the modern Music curriculum as demanded by current trends, multiculturalism and multi‐ethnic societies with their emerging modern culture which to an extent nevertheless still embrace old traditions. The research is underpinned by the theoretical framework of multicultural music education. This study comprises two sections. Section one analyzes the dilemma that the South African Music curriculum faces when incorporating indigenous African instruments for examination at FET level and poses questions on how and which instrumental practices can be part of the possible solution. It revisits the epistemology of traditional African drumming and investigates how some of the traditional drumming practices have changed and are practised in the contemporary context. Section two introduces a contemporary African instrumental practice whose development is rooted in the generic traditional idioms of African drumming. This contemporary drumming style is not tied to a specific ethnic group but rather a creative continuum of African traditional drumming. This practice is explored as a potential instrumental option for the South African Music curriculum (IAM stream); through conducting of training workshops, progress survey and the evaluation of the implementation process of the pilot graded model curriculum. Lastly, pedagogical instructions on teaching, learning and evaluation of this contemporary drumming practice are provided. / Thesis (DMus)--University of Pretoria, 2013. / lk2014 / Music / DMus / Unrestricted