This dissertation outlines the music therapists’ perceptions of training needs for current practice in South Africa. The purpose of my research is to construct a profile of music therapy graduates from the University of Pretoria who are currently practising in South Africa and to find how they perceive the MMus (Music Therapy) training programme in terms of their currents needs in practice, as well as their suggestions in terms of the adaptation of the training programme. The study is conducted within the qualitative and quantitative research paradigm, using questionnaires as data collection method, that were sent out to music therapists that graduated from the University of Pretoria. The survey collected data on the demographics and personal details of the respondents, their professional training and practice trends and their views of the fit between the training programme and practice needs, and suggestions as to where adaptations to the training programme might need to be made, based on their practice experience. Training in business skills and marketing together with additional information on client groups, contexts and the development of clinical and practical skills were identified as perceived needs in their practices. These correlated with the suggestions made for adaptation of the training programme. / Dissertation (MMus)--University of Pretoria, 2006. / Music / MMus (Music Therapy) / Unrestricted

This dissertation profiles the way in which primary school children from socio-economically deprived communities in South Africa, specifically Heideveld and Eersterust, identify with music. The purpose of the study is to investigate how these children do, think, feel and talk about music and to explore the implications thereof for music therapist working in these specific or similar South African communities. The sentence completion responses of the children conveyed two ways in which they view identifying with music. The first is identifying with music and the second is using music as a tool through which one can identify with others. The way in which the children identify with music or through music in music therapy sessions, influences the therapeutic relationship as well as clinical interventions of the music therapist. Therefore, music therapists need to be sensitive to the way in which clients identify with music. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2005. / Music / MMus (Music Therapy) / Unrestricted

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This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa. The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society. This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism. The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016. In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)