Matildie Wium is a senior lecturer in musicology and music theory in the Odeion School of Music at the University of the Free State in Bloemfontein, South Africa. Since completing her doctorate on the music of South African composer Arnold van Wyk (1916-1983) in 2013 under the supervision of Stephanus Muller (Stellenbosch University), Nicholas Cook (then of Royal Holloway, University of London) and Timothy L Jackson (University of North Texas), she has maintained her research interest in twentieth-century South African art music, and has also broadened her focus to include the musical practices and experiences of female opera singers in mid-nineteenth century London. She has contributed to multiple edited volumes, and has published in several South African journals, including South African Music Studies (SAMUS), and in the Journal of the Royal Musical Association. Wium was awarded a master’s degree in vocal performance by the University of the Free State in 2016. She currently serves on the editorial team of the journal ?SAMUS. She is married to Daniël Wium and is the mother of a daughter, Elmien, and a son, Daniël.

• ‘Domestic Affliction’ and a ‘Relaxed Throat’: Reporting on the Tribulations of Mary Shaw. In Christina Fuhrmann and Alison Mero (eds.), Opera and British Print Culture in the Long Nineteenth Century. Clemson University Press. Chapter IV, pp. 87-103.  2023.
• Adelaide Kemble and Opera Arias in Concert and Drawing Rooms. In Roberta Montemorra Marvin (ed.), Opera Outside the Box: Notions of Opera in Nineteenth-Century Britain. New York: Routledge. Chapter V, pp. 96-115. 2022.
• Arnold van Wyk’s Van Liefde en Verlatenheid (“Of Love and Forsakenness”): Love and Others in 1950s South Africa. In Gordon Sly and Michael R. Callahan (eds.), Twentieth and Twenty-First Century Song Cycles: Analytical Pathways Toward Performance. New York and London: Routledge. 2021.
• Dialectics and Sonata form in the Dialectic Fantasy. In Martina Viljoen (ed.), A Passage of Nostalgia: The Life and Work of Jacobus Kloppers. SunBonani Scholar. 2020.
• Adelaide Kemble and the Voice as Means. In Roger Parker and Susan Rutherford (eds.), London Voices, 1820-1840: Vocal Performers, Practices, Histories. Chicago: The University of Chicago Press. Chapter VI, pp. 121-136. 2019.
• Jenny Lind, Harriet Grote and Elite Music Patronage in Early Victorian London. In Journal of the Royal Musical Association 141:2, 283-302. 2016.
• The Place of Africa in Stefans Grové’s The Soul Bird Trio (1998). In Martina Viljoen (ed.), Musics of the Free State: Reflections on a Musical Past, Present, and Future. Musicology without Borders Series, Vol. 2. Series editor: Stanislav Tuksar. Zagreb: Croatian Musicological Society. Chapter VII, pp. 225-269.  2015.
• Die Bydrae van Stefans Grové se Raka tot die Raka-diskoers [The contribution of Stefans Grové’s Raka to the Raka discourse]. In Tydskrif vir Geesteswetenskappe 53(2). 2013.
• Hubert du Plessis (1922-2011): An appreciation. In Musicus 39(2): 5-9. 2011.
• ‘An intertextual reading of the ‘Elegia’ from Arnold van Wyk’s Duo Concertante’. In SAMUS 30/31. 2010/11.
• My country, my dry, forsaken country’: On exile in Arnold van Wyk’s, NP van Wyk Louw’s and Ovid’s Tristia. In Musicus 38(1). 2010.
• Egidius as musikale interteks: manifestasies van treur in Arnold van Wyk se Tristia [translates as: Egidius as musical intertext: manifestations of sorrow in Arnold van Wyk’s Tristia]. In Tydskrif vir Nederlands en Afrikaans 16(1). 2009.
• Arnold van Wyk se Ricordanza (1974) as musikale aandenking. [Translates as: Arnold van Wyk’s Ricordanza (1974 as a musical memoir]. In LitNet Akademies 5(2). October 2008.

•  ‘Domestic Affliction’ and a ‘Relaxed Throat’: Reporting on the Tribulations of Mary Shaw. In Christina Fuhrmann and Alison Mero (eds.), Opera and British Print Culture in the Long Nineteenth Century. Clemson University Press. Chapter IV, pp. 87-103.  2023.
• Adelaide Kemble and Opera Arias in Concert and Drawing Rooms. In Roberta Montemorra Marvin (ed.), Opera Outside the Box: Notions of Opera in Nineteenth-Century Britain. New York: Routledge. Chapter V, pp. 96-115. 2022.
• Arnold van Wyk’s Van Liefde en Verlatenheid (“Of Love and Forsakenness”): Love and Others in 1950s South Africa. In Gordon Sly and Michael R. Callahan (eds.), Twentieth and Twenty-First Century Song Cycles: Analytical Pathways Toward Performance. New York and London: Routledge. 2021.
• Dialectics and Sonata form in the Dialectic Fantasy. In Martina Viljoen (ed.), A Passage of Nostalgia: The Life and Work of Jacobus Kloppers. SunBonani Scholar. 2020.
• Adelaide Kemble and the Voice as Means. In Roger Parker and Susan Rutherford (eds.), London Voices, 1820-1840: Vocal Performers, Practices, Histories. Chicago: The University of Chicago Press. Chapter VI, pp. 121-136. 2019.
• Jenny Lind, Harriet Grote and Elite Music Patronage in Early Victorian London. In Journal of the Royal Musical Association 141:2, 283-302. 2016.

My doctoral project was a music-analytical study of the music of South African composer Arnold van Wyk (1916-1983). The field of music theory and analysis remains my primary focus both in undergraduate teaching and in research. I was able to upskill myself in the technique of Schenkerian analysis thanks to a visit to Prof Timothy Jackson, one of my PhD supervisors, at the University of North Texas in 2016. I am particularly proud of my chapter in the book Twentieth and Twenty-first Century Song Cycles: Analytical Pathways towards Performance edited by Gordon Sly and Michael Callahan that appeared with Routledge in 2021. My chapter is on a song cycle by Arnold van Wyk which I have actually also performed myself. I have also contributed analytical studies of other Afrikaans composers’ works, taking pains to situate these compositions within their sociopolitical contexts.

My focus on music analysis and on South African materials is complemented by a musicological focus and more UK-focused archival sources. I was invited by one of the external examiners of my PhD thesis (Roger Parker) to take part in a five-year project funded by the European Research Council and based at King’s College London. The theme of the project was ‘Music in London, 1800-1851’, and in the context of my involvement, I was able to make several visits to London during 2014-2018, doing archival research and presenting my work at conferences, resulting in the publication of several book chapters in edited volumes with reputable international publishers, some of which have appeared already and some of which are still in process. The focus of my contributions was female opera singers from the period.

• Twentieth-century South African art music
• Female opera singers in mid-nineteenth-century London
• Analysis
• Cultural musicology.

• MUSS1622 – Music Theory (Harmony and Voice Leading Overview, Common Practice Era)
• MUSS2612 – Music Theory (Harmony and Voice Leading Overview, Common Practice Era)
• MUSS3712 – Music Theory (Baroque Counterpoint)
• MUMA3704 – Musicology Specialisation Course
• MUSS3704 – Music Theory Specialisation Course
• MUSI4704 – Capita Selecta (Performance Analysis Focus) 

• Peer review (articles): SAMUS, Cambridge Opera Journal, Journal of the Musical Arts in Africa, Perspectives of New Music.
• Peer review (book manuscripts): Routledge, Protea Boekhuis.
• Co-editor of SAMUS (South African Music Studies, journal of South African Society for Research in Music)