Indian Education in South Africa

Get Complete Project Material File(s) Now! »

CHAPTER 3: METHODOLOGY

INTRODUCTION

This study investigates the Church Music praxis and current music trends amongst Indian Pentecostal church musicians in Durban. It further seeks to determine a need for a music literacy programme that could serve as a mechanism for social upliftment amongst a historically disadvantaged Church Music community in South Africa.
This study endeavoured to answer the following primary questions:

• What are the current Church Music praxis and music trends amongst historically disadvantaged Indian church musicians in the Pentecostal Church movement in Durban?
• What is the current nature and status of music-making and knowledge acquisition amongst these Indian church musicians?

The secondary questions were:

• Are Indian church musicians’ performance skills and music literacy related to social, environmental, personal and background variables?
• Would an identification of the limitations and expected competencies required for a music literacy programme have meaningful outcomes?

In order to garner a perspective into the Indian Pentecostal church musicians’ ‘world of work’, one needs a complete understanding of their context and environment. Current social science research methods adopted for these particular issues indicates a move towards a mixed methods research (MMR) approach (Chronholm and Hjalmarsson 2011; Cameron 2009; Cresswell 2009; Johnson and Onwuegbuzie 2004). MMR combines philosophical assumptions with methods of inquiry (Cresswell and Plano-Clark 2007) to obtain an enhanced interpretation of the phenomenon investigated qualitative and quantitative research techniques are combined/mixed into a single study (Kumar 2012; Bloomberg and Volpe 2008; Johnson and Onwuegbuzie 2004).
The combination of these approaches provide greater insight into the investigated phenonmenon and encourages a diversity of contrasting viewpoints of a particular experience (Venkatesh et al. 2013). By the convergence of data from both the qualitative and quantitative methods, a stronger case can be presented for the findings that result from this research design.
The MMR approach is best suited for this study as a broad spectrum of information is captured since the researcher is not restricted to an individual research paradigm. By using both methods the hypothesis is generated and tested thereby enhancing the completeness of the study (Chronholm and Hjalmarsson 2011). The triangulation of knowledge informs theory and practice (Johnson and Onwuegbuzie 2004) and provides greater validity by corroborating the results from the qualitative and quantitative methods (Cresswell and Plano-Clark 2007). Due to the reliance on objectivity, a greater weighting was placed on the quantitative method, with the qualitative aspects adding the subjective detail and depth thereby enriching the data.

Research Strategy

This study followed two methods of investigation: firstly, a literature study combined with informal structured interviews (qualitative phase 1) conducted on an expert sample. This informed the identification, gathering and reinforcement of the themes to be investigated. Secondly, this informed instrument design, collation, categorisation and analysis of data in the empirical quantitative phase of the study.
In order to holistically understand the Church Music praxis of the Indian Pentecostal church musicians in Durban, it was necessary to employ the Exploratory Sequential design within the mixed method research approach. The purpose of this design was to test and ‘measure the qualitative exploratory findings’ (Cresswell and Plano-Clark 2007: 73). The design method allowed for the sequential collection of data and analysis (qualitative followed by the quantitative). To counter claims of bias, a small expert sample of interviews conducted in the first qualitative data collection phase were followed by a larger sample (survey) of different participants in the second quantitative phase. The quantitative results informed the qualitative research questions during the mixing strategy of both strands. The analysis and interpretation of data was based on the combination of these results.

Overview of Research Design Process

Qualitative Phase

Qualitative research is an approach of social research that involves comprehensive investigation of a defined sample, which is examined by techniques intended to advance theoretical notions and empirical categories (Ragin 1994). It aims to describe and explore perceptions, rather than measure facts and figures (Creswell 2013). Qualitative research is suited for the nature of this research as it seeks an in-depth knowledge of only a limited number of cases. Ethnographic and Autoethnographic inquiry has anthropological and sociological underpinnings (Creswell 2014; Latour and Woolgar 1986; Garfinkel 1984). In both qualitative phases of this study, partial ethnographic inquiry is most suited to the research problem and purpose. The data collection phase (qualitative) is limited to interviews and literature reviews. Audio/visual data are not required as this study is not a detailed structural and stylistic analysis of the musical ingredients. The collection of primary data, which serves as the statistical data, takes place in the quantitative phase. Ethnographic study makes the key methodological assumption that the informant or agent is always better informed about their own actions or beliefs than the ethnographer can be. The ethnographic inquiry is conducted in an informal setting, it describes and interprets cultural patterns of behaviour, beliefs and practices (Van Maanen 1995), with the intention of drawing a cultural portrait and describing how a culture-sharing group functions (Creswell 2013; Denzin and Lincoln 2000; Thomas 1993).
The research design for this study employs two phases of qualitative data acquisition (referred to hereafter as qualitative phase 1 and 2 respectively). The first phase is conducted at the outset of the study, with the second phase being tagged to the quantitative phase. Qualitative data (phase 1) was gathered through a review of literature, informal structured interviews using an expert sample ³⁸ and (phase 2) informal unstructured interviews using a convenience sample.³⁹ The literature review provided a current state of knowledge, identified key authors and findings, methodologies and the gaps in this research area. It provided a basis for units of analysis (Arrival of Indian Immigrants, Disadvantaged communities, History of Indian education in South Africa, the Pentecostal movement and the Indian church movement in Natal) which were subsequently grouped into key themes. The primary data deficiency in the literature review was that which directly addressed the church musicians perspective, this was addressed through informal structured interviews (qualitative phase 1) using an expert sample (see section 2.1). The data from the expert sample supported that from the literature review.
The qualitative phase 1 was followed by the quantitative phase. It was during this latter phase that the qualitative phase 2 data acquisition was gathered from a convenience sample drawn from the sample population in the survey. These interviews (qualitative phase 2) were used to clarify, further interrogate, as well as confirm the themes that emerged from the literature review (qualitative phase 1). This latter (phase 2) interview data furnished further insights and provided a contextual basis for the data from the survey instrument.
In considering the Indian Pentecostal church musician’s background, performance traditions and music trends, a ethnographic realist (Cresswell 2013) research approach is adopted in order to provide an objective and descriptive account of these musicians and the role of the church with regards to music education. This approach is enhanced by a blend of participant observation and participatory action research for the inclusion of insider perspectives (Aguilar 1981) of this cultural group (Mouton 2009). Although the researcher is an ‘insider’, this research is not self-reflective in that the sample size, under study, is larger than the author. In reflectivity, the personal background, past knowledge and culture of the researcher plays a role in shaping the interpretations. These personal experiences introduce bias to the study as the researcher can advance certain themes and meanings they assign to the data (Creswell 2014; 2013). This research investigates the Church Music praxis and music trends amongst Indian Pentecostal Church musicians in Durban without being unduly shaped or directed by the researcher’s experience and understanding of the phenomenon. The Indian Pentecostal Church Music Praxis in Durban is unique and needs to be detailed. These various approaches are in keeping with the research purpose of empowerment, community development and thereby affect the social environments of the participants.

Quantitative Phase

The qualitative review of all the studies in Chapter 2 revealed that the majority of the studies pertaining to social issues of the Indian diaspora adopted a quantitative approach (Smith 2005; Ebr-Vally 2001; Garner 2000; Freund 1993; Brain 1983; Oosthuizen 1981; 1979b). In keeping with previous studies, the researcher utilises the most appropriate method for gathering data from a large sample, i.e. a quantitative method. Kumar (2012) describes quantitative as a well structured approach that is valid and reliable. In addition, findings through quantitative study designs can be replicated and tested (Kumar 2012). Since the researcher is a part of this community, interview data presented the risk of bias. The quantitative approach triangulated with two sets of interviews (qualitative phase 1 and 2) helped eliminate researcher bias and determine the extent of the particular variation and diversity of the Church Music praxis of the Indian Pentecostal musician. This approach also measured the magnitude of the variation of the phenomenon. A cross-sectional study design is best suited for investigating a phenomenon or situation (Kumar 2012:107). The researcher designed a quantitative survey instrument, based on the correlation of the thematic data collected (literature review) and informal structured interviews in the qualitative phase 1, that addressed demographics, employment and educational background, church band rehearsals, listening preferences, instrument choice, learning methods, performance frequencies and challenges. The data provided an explanation on the relationship between the variables (Cresswell 2009).
The terminology used and the methods of data analysis adhere to the guidelines and principles that are common to a mixed methodology research approach. It is often the case that certain terms take on a designated meaning within a particular methodology, for example, the use of the word ‘population’. Although the term ‘population’, in a qualitative sense, signifies all the inhabitants residing in a certain area, the quantitative definition refers to all of the individuals in a target group. ‘Church Music praxis’ embodies the music activities relating to music performance at church, these range from instrumentation and repertoire to performance preferences and tendencies. The category ‘Current music trends’ in this study refers to the participants’ music performance and literacy status; educational background and learning methods. The subjects for this study were comprised of the musicians in six of the most prominent Pentecostal churches in Durban.
This chapter is arranged into two sections. The first section will describe the variables and their measurement; the second section will describe the data gathering and analysis process. The section on data gathering presents information on the identification of the target group, questionnaire (instrument) design, administration and retrieval. This section will also provide background on the statistical methods that were used to analyse the data.

DESCRIPTION OF VARIABLES

Preliminary Informal Interviews

Prior to the instrument development, informal structured interviews (Appendix A) were conducted with six Indian Pentecostal church musicians in Durban (Pillay 2010; Sigamoney 2009; Royeppen 2009; Naidoo 2011; Peters 2009; Rungan 2009). These interviews began in March 2009 and were an ongoing process to further investigate responses from the questionnaires (McNamara 1999). The purpose of the informal interviews was to:

• Determine the target group from which the sample population could be extracted; 64
• Verify the availability of the population;
• Gather background information;
• Determine the viability of such a study;
• Investigate the appropriateness of the questionnaire and its terminology; and
• Identify key themes that related with the phenomenon under investigation and could be used in the design of the instrument.

Following the informal structured interviews, the questionnaire (Appendix C) was developed and sent to the research committee (see Appendix C) for review and refinement. In addition to the informal structured interviews, the researcher gathered qualitative (phase 2) data (informal unstructured interviews) during the administration of the questionnaires. The researcher’s knowledge and association with the community placed him in an advantageous position in that the respondents were willing to share supplementary information on their church music performance experiences. This also priviledged the study in that access to implict data was available. This led to the researcher posing questions informally to the respondents on additional challenges such as transport, music literacy, equipment and remuneration. Observations took place in various settings at the churches and focused on musicians, but not exclusively on the musicians participating in the survey. With the intention of enhancing the richness of the study as well as serving to clarify misunderstandings with the survey questions, the researcher was present at musical activities like church services, prayer meetings, choir rehearsals, band rehearsals, informal situations in the foyer and in the general life of the congregation and musicians. The researcher also taught individual piano lessons and transported musicians from their homes to the various church activities. Observation details were captured in note form and used to supplement particular findings and descriptions.

CHAPTER 1:INTRODUCTION
1.BACKGROUND
2.MOTIVATION
3. RESEARCH QUESTIONS
4. THE PURPOSE OF THIS STUDY
5. PHENOMENON AND OBSERVATION
6. RESEARCH METHODOLOGY
7. CHAPTER OVERVIEW
8. SIGNIFICANCE OF STUDY
9. DELIMITATIONS OF THIS STUDY
10. ETHICAL CONSIDERATIONS
11. CONCLUSION
CHAPTER 2: LITERATURE REVIEW
1. INTRODUCTION
2.3. A Brief Overview of the History of Indian Education in South Africa
2.4. The Pentecostal Movement
2.5. The Indian Church Movement in Natal
CHAPTER 3: METHODOLOGY
1.INTRODUCTION
2. DESCRIPTION OF VARIABLES
3. DATA GATHERING AND ANALYSIS
CHAPTER 4: RESULTS AND DISCUSSION
1.INTRODUCTION
2. DEMOGRAPHIC INFORMATION
3. CHURCH MUSIC PRAXIS
4. CURRENT MUSIC TRENDS
5. CHALLENGES
6. CONCLUSION
CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS
1. SUMMARY OF FINDINGS
2. CONCLUSIONS
3. RECOMMENDATIONS
BIBLIOGRAPHY
APPENDICES
GET THE COMPLETE PROJECT