Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2008. / Includes bibliographical references (leaves 109-112).

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2008. / Abstract and vita. Includes bibliographical references (leaves 79-85).

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Charles Brewer, Florida State University, College of Arts and Sciences, Program in the Humanities. Title and description from dissertation home page (viewed June 19, 2006). Document formatted into pages; contains x, 166 pages. Includes bibliographical references.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, N.Y., 2002. / Abstract. Includes bibliographical references (leaves 110-112).

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2006. / Abstract. Includes bibliographical references (leaves 111-116).

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2008. / Abstract and vita. Includes bibliographical references (leaves 79-85).

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2008. / Abstract. Includes bibliographical references (leaves 109-112).

This dissertation examines the attitudes of people regarding the worship music that is being used in South African Protestant churches during the last decade of the twentieth century. The research is aimed at the man-in-the-pew to identify general trends across a variety of denominations. 4920 questionnaires were sent to 980 churches countrywide and completed anonymously. Questions are divided into three categories: personal information, church related, personal opinions. Every question has space for comments. Chapter one is a general discussion on people's opinions and attitudes and the aim and method used. Chapter two is an historical synopsis. Chapter three is an analysis of the questionnaire including hypotheses, graphs, results and comments. Chapter four, the conclusion, identifies general trends regarding formality and informality, choirs and music groups, background music, traditional versus contemporary, education and influence of leaders, the need for policies, use of media and instruments. Proposals are suggested. / Art History, Visual Arts & Musicology / M. Mus.

The purpose of this study is to make the Protestant church workers more efficient in their use of music in religious work by giving them a clear conception of the kind of music to be used and by suggesting detailed plans and methods by which desirable results may be secured in the use of church music. Ideal standards have their place, but here it is proposed to be matter-of-fact, practical and concrete, and to secure immediate results with the average church member and choir singer as the final criterion in every phase of the work. The purpose is not to emphasize high ideals but to instruct and inspire all those who have leadership in the service of church music, that they may be able here to provide the greatest religious helpfulness that the use of music can bring the souls to whom they minister.

Much of the research undertaken on music education in South Africa has been concerned with formal music education and its application in the classroom. In spite of the fact that the majority of South Africans have had little or no access to formal music education, non-formal learning practices have been largely ignored as alternative, and potentially effective forms of music skills acquisition. This study focuses on the church, and the Durban Bethesda Temple in particular, and explores how, in the absence of access to formal music education, alternative learning methods based on generalised participation and musical process, may be conducive to the achievement of highly skilled musicianship. This thesis draws insight from theories proposed by intercultural music educationists, Christopher Small and Patricia Campbell, and ethnomusicologists, Blacking, Chernoff, Nketia and Merriam, whose work has focussed on conceptualisations, functions, roles and contexts of music-making in nonwestern, and Mrican societies in particular. It postulates that when music-making is nonindividualised and non-competitive, and when performance focuses on relationshipbuilding and ritual, rather than on specialisation and spectacle, music learning is achieved through participation by way of aural transmission, imitation and mentorship. In thisregard, the underlying philosophy of education, as is applied in non-formal mUSIC education, is based on the assumption that music is a human capacity; that music-making is process-orientated rather than product-related, and that music can be used to build individual and communal skills and competencies. The discussion concludes by suggesting insights that can be gleaned from the process of non-formal music learning in communal, participatory contexts, namely, the church; and how these insights can signal alternative perspectives to the practices and procedures of South Africa music education amidst current transformation. / Thesis (M.A.-Music)-University of Natal, 1998.