In a previous Afrikaans article, "Die konteks van die Koninklike Toonkuns-akademie in München en sy Suid-Afrikaans gebore studente, 1902-1909: Mabel Wuesto, Vera de Villiers, Daisy Bosman en Irma Lohner" (translated: "The context of the Royal Academy of Music in Munich and its South African born students, 1902-1909: Mabel Wuesto, Vera de Villiers, Daisy Bosman and Irma Lohner"), an inquiry was undertaken into the possibility of the presence of South African born music students at the Royal Academy of Music in Munich, a very prominent city of music. The article covered the period 1902-1909. The point of departure for this article was the concept place. Keywords related to this concept are context, milieu, landscape, city scape and space. A possible "thick description" was attempted in order to place the four students within the context in which they operated in Munich. The first aim of the present article, an extension of the first article, was to determine whether there were any South African born students who studied at the Königliche Musikschule (1874) and its successor, the Königliche Akademie der Tonkunst (1892), during the 25 years between 1874 and 1899, that is the period preceding the era of the four students mentioned in the former article. Secondly, these students had to be situated in the context of the development of the institutions.
Die uitgangspunt vir hierdie artikel is die konsep plek. Daar is eerstens gepoog om vas te stel watter Suid-Afrikaanse studente in die 25 jaar tussen 1874 en 1899 aan die Königliche Musikschule (1874) en sy opvolger, die Königliche Akademie der Tonkunst (1892), in München studeer het. Tweedens was dit die doelwit om die studente binne die konteks van die ontwikkeling van die instansies te plaas. Aan watter invloede is die studente blootgestel deur die kontak met interessante medestudente van oor die hele wêreld en die groot verskeidenheid fassinerende dosente? Die belangrikste bronne is die jaarboeke wat elke jaar vanaf 1875 verskyn het (die eerste een oor die akademiese jaar 1874/1875) en beskikbaar is in die Beierse Staatsbiblioteek en die argief van die Hochschule für Musik und Theater in München. Die Musiekskool en die Toonkuns-akademie kan as konserwatief gereken word: Damestudente en manstudente moes aparte ingange en trappe gebruik, en die beroemde komposisie-onderwyser Rheinberger was byvoorbeeld 40 jaar lank 'n dosent. Die volgende vyf persone word bespreek: Hugo Lentz (gebore in Keiskammahoek, studeer toneelspel, 1881-2), Florence Fraser (Philippolis, klavier, 1886-7), Violet Whiteford (Fort Beaufort, sang, 1893-4), Jeannie Muller (Graaff-Reinet, sang, 1895-6) en Johanna Singenberger ("St. Francis", viool en klavier, 1896-8). Navorsing oor die latere lewens van hierdie persone is nou nodig sodat vasgestel kan word hoe hulle die omvangryke indrukke en ervaring wat hulle in die "plek" München versamel het aan hulle gemeenskappe oorgedra het.
