Text in Afrikaans / Hierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le. / This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective. / Art History, Visual Arts and Musicology / M. Mus.

Text in Afrikaans / Summaries in Afrikaans and English / The supposition exists that the Transvaal Education Department's Senior Primary Class Music syllabus is not being implemented in all aspects and that this is connected to teacher training. An empirical investigation was launched using three questionnaires and a classroom field study. Two questionnaires, completed by Class Music teachers, were used to assess to what extent the school syllabus was being followed. Teachers also had to provide information about their training in Class Music teaching. The third questionnaire offered a structured interview with school principals. The actualisation of Class Music, extra curricular music activities, the role of the teacher and teacher training were examined. Lessons for standard two pupils at twenty schools, were presented for an in-depth investigation. The results were tabulated, summarised in bar graphs and interpretations rendered. According to the findings, recommendations with regard to curriculum, the implementation of the syllabus, and tertiary Class Music training were made. / Daar is vermoed dat die seniorprimere Klasmusieksillabus van die Transvaalse Onderwysdepartement gedeeltelik gelmplementeer word en dat df t verband hou met onderwysersopleiding. In die lig hiervan is 'n empiriese ondersoek geloods deur middel van drie vraelyste en deur veldwerk. In die twee vraelyste wat deur Klasmusiekonderwysers voltooi is, is nagevors in watter mate die skoolsillabus gelmplementeer word. Verder het die onderwysers hulle Klasmusiekopleiding in hierdie verband aangetoon. Die derde vraelys vorm die raamwerk vir 'n gestruktureerde onderhoud met skoolhoofde. Die realisering van Klasmusiek, buite-kurrikulere musiekaktiwiteit en die rol van die onderwyser en onderwysopleiding is nagegaan. In 'n diepte-ondersoek is lesse by twintig skole vir standerdtweeleerlinge aangebied. Die resultate word in tabelle uiteengesit en in staafdiagramme saamgevat, terwyl waarnemings weergegee word. Op grondhiervan word aanbevelings gemaak oor kurrikulering, sillabusimplementering en tersiere Klasmusiekopleiding. / Art History, Visual Arts and Musicology / M.Mus

MAAS / Centre for African Studies / Since its inception, the study of music in South African schools has been fashioned on Western Classical models. The change in orientation from the Eurocentric to the Afrocentric approach required that indigenous African music be accorded space in the curriculum. This study explores challenges in mainstreaming indigenous African music in the curriculum of South African primary schools. It specifically focuses on the Intermediate Phase (grades 4-6). This study enlists a variety of appropriate qualitative methodologies, such as interviews carried out with a sample of educators and schools. It also analysed relevant DVDs of indigenous African music performances. It is envisaged that findings emanating from this study will be of value to music educators, music curriculum planners, education specialists, and other stakeholders. The dissemination methods will include publications of relevant teaching materials for classroom purposes, as well as generating research articles for scholarly discourse. / NRF

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.