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Beer, Luzaan. "Music education in the foundation phase." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.
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Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.
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Sparrow, Marion Janet. "Aspects of musical education in Grahamstown, 1832-1950." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1004616.
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From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
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Montocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.
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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.
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Drummond, Urvi. "Music education in South African Schools after apartheid : teacher perceptions of Western and African music." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6298/.
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The South African classroom music curriculum has changed in the twenty years since the transition from apartheid to democracy in 1994. The broad imperative for the main music education policy shifts is a political agenda of social transformation and reconciliation. Policy aims are to include many more learners in the music classroom by promoting the study of diverse musics that were previously marginalised and by providing a framework for music education that allows learners to progress at their own pace. This research study investigated to what extent music teachers are able and likely to fulfil the requirements of the new, post-apartheid curriculum, with particular reference to the National Curriculum Statement music policies (NCS). Specifically, it considered whether teachers have a particular allegiance to Western and/or African music. Twelve South African music teachers were interviewed for this purpose. The latest music curriculum revision in the form of the Curriculum and Assessment Policy Statement (CAPS, 2011) has modified knowledge content by streaming music into three distinct but parallel genres. In addition to Western music, the curriculum incorporates Indigenous African music and Jazz as representative of the diverse cultural interests of South Africans. An analysis of post-apartheid music policy documents draws on post-colonial thought to frame the affirmation of African music by giving it a prominent place in the curriculum. In order to appreciate the role different musics are expected to play in the curriculum, the work of prominent ethnomusicologists provides a means to conceptualise the range of emerging musics, including World Music, Global Music and Cosmopolitan Music, and their differences. For teachers to comply with the policy directive to teach different musics to diverse learners, they are required to expand their knowledge and adapt their teaching styles to achieve these aims. This study highlights a lack of resources and of structured teaching support through continuing professional development as well as a need for policy to give clearer direction in the way it instructs teachers to execute the changes demanded of them in the curriculum. An investigation of teachers’ own musical education and their views of the new curriculum reveals that they are willing to teach a variety of musics. Their perceptions of the differences between Western and African music illustrate a reflective understanding of the challenges they face in this undertaking.
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Clench, Renate. "Howard Gardner's multiple intelligences theory, outcomes-based education and curriculum implementation in South Africa : a critique of music education in the general education and training phase." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1218.
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This study examines the current curriculum for primary schools in South Africa – Curriculum 2005 (C2005) and the subsequent Revised National Curriculum Statement (RNCS), with Outcomes-Based Education (OBE) as its fundamental educational approach - with specific reference to the place of music education in it. While the underlying principles and scope of this curriculum has many positive attributes, numerous studies have shown that there are still major stumbling blocks in the way of its successful implementation. Since the emphasis of the Arts and Culture Learning Area is on the nurturing of generic values and attitudes towards culture, it does not provide for sufficient development of subject-specific musical skills and knowledge. Instead this vital form of musical learning continues to be provided in the form of extra-curricular music programmes by those few schools who have the staff expertise and the funding to do so. Music therefore remains accessible only to the privileged few. .Although C2005 encourages and requires significant levels of integration in Learning Outcomes and Assessment Standards within and across Learning Areas, this is currently one of the least successful aspects of its implementation. This lack of success, it is argued, is in part the result of severe limitations in the training of teachers and the availability of necessary resources in schools, and in part the result of the curriculum’s own limited interpretation of integration. Psychologist Dr Howard Gardner’s Theory of Multiple Intelligences is a holistic approach to education that stresses, amongst other things, that Musical Intelligence is one of eight vital forms of intelligence that should be accessible to all children. It is argued that educational approaches based on Gardner’s Multiple Intelligences Theory provide some insights into the integration of Musical Intelligence with other forms of learning that may usefully be applied in C2005.
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Van, Heerden Estelle Marié. "Influences of music education on the forming process of musical identities in South Africa." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08252008-144731/.
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Daniels, Delia Josianne. "Keyboard tuition for adult beginners : investigating Practical Piano Study 171 at the University of Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49730.
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Thesis (MMus) -- Stellenbosch University, 2002.ENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and the Introductory Programme in Music. The BMus Foundation Programme aims to reach students who intend doing the BMus Programme but do not meet the required standard for the BMus Programme at the time of enrolment. On the successful completion of the BMus Foundation Programme, these students can then be promoted to the BMus Programme. The Introductory Programme in Music concentrates on students who have had little or no prior formal theoretical or practical training in music. These students aim to obtain, an understanding of the fundamentals off'music within the minimum period of one academic year. The Introductory Programme in Music is dual-functional: Students can terminate their studies on completion of the course or 11 Students who wish to continue their studies in music can enrol for the BMus Foundation Programme on completion of the Introductory Programme in Music. The Introductory Programme in Music. consists of the following modules: Music Skills 171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical Music Studies: Preparatory 171 module concentrates on teaching students the basic practical skills required to play an instrument. The student decides which instrument he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical Piano Study 171 throughout the thesis. At the completion of the Introductory Programme in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano Study 171. In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically investigated. This investigation includes the following: the forms of tuition offered, that is, group and individual tuition, the curriculum material that is used and the curriculum itself Furthermore, the psychological, physiological and mental make-up of the student enrolling for this course in general will be discussed. In this instance, the umbrella term "adult" is used. Attention is also given to teaching aids that can assist in piano and electronic keyboard instruction. A demonstration video is included with the thesis in order to illustrate its potential as a teaching aid. Suggestions based on the conclusions drawn from this research are given for the improvement of Practical Piano Study 171.
AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999 twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend) asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar te bekom. Die Inleidende Program in Musiek het 'n tweeledige funksie: Die student kan die kursus teen die einde van die akademiese jaar voltooi of 11 Studente wat na voltooiing van die Inleidende Program in Musiek graag met hul studies in musiek wil voortgaan, kan vir die BMus Basisprogram inskryf Die Inleidende Program III Musiek bestaan uit die volgende modules: Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend 171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer. Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend 171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171. Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad 3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het. Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf, bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik. Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek gebaseer is, word ter afronding aan die hand gedoen.
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Andersson, Ida. "Balance of music education : chartering verbal and non verbal knowledges in the philosophies of music teachers in South Africa." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1488.
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This thesis discuss how balance between declarative and procedural knowledge can be reached in music education. The purpose is to shine light on how balance between different kinds of knowledge shows itself in South African music teachers descriptions of their ways of teaching. The main focus lies in how non verbal and verbal knowledge present itself in the teacher's philosophies. The categorisation of different kinds of knowledge from the book Music Matters by David Elliott is used to distinguish the main question in the analysis. This categorisation suggests there are five categories of knowledge of where one is verbal and four non verbal. Seven teachers are included in the study and the results show that there are some difficulties in the process of balancing verbal and non verbal knowledges in their teaching situations. The difficulties is shown largely between the desire to teach through non verbal methods and the traditional way of teaching that is more directed towards verbal knowledge and the fact that it is the easiest and quickest way to use spontaneously in the teaching situations. The thesis concludes that despite the fact that there are areas of development in balancing knowledges in teaching situations, there is more elements of the philosophical theories discovered in reality than expected. The pattern show that the teacher's philosophical reflections present more gaps individually than put together which results in the reflection that if teachers use the knowledge and experience among each other in a larger extent, balance between different kinds of knowledge is more easily approached than when doing it on their own.
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Leqela, Moeletse Armstrong. "An exploratory study of music education in the FET bands (Grades 10-12) in selected secondary schools." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1017226.
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South African education has been heavily influenced by British rule since 1806 and “the legacy of apartheid continues to be felt in the education system of South Africa” (Herbst, 2005:4). This legacy stems largely from the introduction of English as a language of transmission to the legislation and regulations, such as the Bantu Education Act (1953), the Correspondence College Act (1965) and the Technical College Act (1981, amended in 1989 regulating technical colleges) (DoE, 2003:1-2; Herbst, 2005:4). The African National Congress (ANC), which became the new government in 1994, felt that the syllabus prior to 1994 was overly prescriptive and fragmented. The system had already been declared, in a review in 1980, as inferior, biased towards Western European ideals, and that the content and the examinations “did not provide an appropriate school leaving certificate for the majority of learners” (Department of Education (c), 2003:1-2). The current government felt the need for the system to be phased out and for the phasing in of a system of outcomes-based education which was to be put into operation from 1997 and finalized in 2008 (Department of Education (c), 2003:1; Hauptfleisch, 1993:1; Herbst, 2005:4). The National Curriculum Statement Grades 10-12 was aimed at replacing Report 550, A Résumé of Instructional Programmes in Schools (hereafter referred to as Report 550), as the document that stipulated policy on curriculum and qualifications in Grades 10-12 (Department of Education (c), 2003:viii). The 1997 National Curriculum statement was revised in 2002 and was thereafter referred to as the Revised National Curriculum Statement (RNCS) (Herbst, 2005:4). By the early 2000‟s the need for a revision of the South African education system had gained momentum. The criticism was fuelled by children‟s inability to read, write and count, their lack of general knowledge, and the shift away from explicit teaching and learning to facilitation and group work. Furthermore, teachers did not know what to teach (Dada et al., 2009:13). In July 2009 the then Minister of Basic Education appointed a panel of experts to investigate the nature of the challenges and problems experienced in the implementation of the National Curriculum Statement and to develop a set of recommendations designed to improve the implementation thereof (Dada et al., 2009:5). The panel of 2009, amongst other things, designed a document called Curriculum Assessment Policy Statement (CAPS). CAPS aims to improve, inter alia, the implementation of Music as a subject in the National Curriculum Statement. CAPS is the single comprehensive Curriculum and Assessment Policy document developed to replace the old Subject Statements, Learning Programme Guidelines and Subject Assessment Guidelines in Grades R – 12, the amended National Curriculum Statement Grades R - 12: Curriculum and Assessment Policy (January 2011), the National Curriculum Statement Grades R - 9 (2002) and the National Curriculum Statement Grades 10 - 12 (2004). Within the changing context of South African education the purpose of the current research is to explore the perceptions of NMMU second year fulltime students on music education at selected senior secondary schools in South Africa. It is proposed that respondents of this study are university music students who were admitted in 2011 for all qualifications in the music department of the Nelson Mandela Metropolitan University.
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Matier, Rosemary. "Georg Gruber : his contribution to music education in South Africa and an evaluation of selected vocal compositions and arrangements." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002312.
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In this thesis I have given a factual account of Georg Gruber's contribution to music education in South Africa by giving a short biography and studying a) his philosophy of music education, b) the content of the music courses offered at Rhodes University during his occupancy of the Chair (1955-1972), c) the content of the music courses offered at the University of Fort Hare from 1974-1977, d) his contribution to choral education, e) his publications in the field of music education. I have given an evaluation of selected vocal compositions: a) Two masses, b) Terra Nova , c) Two African cantatas, i) Ukucula Ematola and ii) Izango ZakwaNtu , and seven arrangements of real folksongs from several different countries: a) Coventry Carol and Sweet Nightingale, b) Die Alibama, c) Merck tog hoe sterck, d) Entre Ie Boeuf et l'Ane gris, e) Aba Heidschi-bum-beidschi and f) Cheder Katan. Through the above study I have drawn conclusions regarding his compositional techniques prior to coming to South Africa as shown in the two mass compositions a nd the changes which occurred after being exposed to African music. The attention to detail in his arrangements and their sheer simplicity show his skill and craftsmanship also in this genre. Appendices of the works discussed have been submitted in a separate file and Appendix 8 lists all his available folksong arrangements.
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van, Zyl Silvia. "Aural training at a selected tertiary institution in South Africa, 2015-2019: Student perspectives, motivation and problem-solving strategies." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33099.
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“Aural training” forms a vital component of conventional music education and practice and has done so for a considerable amount of time, yet it remains a difficult area with regards to student engagement in its practice and application both at school and university level. Apart from extensive scholarly debates on approaches to and methodology of aural education, a crucial issue in need of addressing deals with the student experience on a cultural, environmental and psychological plane. Despite a long-standing history of approaches, methods and concepts having been proffered in advancing aural education, their success rests on the student being reachable, engageable, willing, autonomously motivated and possessing an effective set of problem-solving strategies. This study investigated student perception, motivation and problem-solving strategies in the aural courses at the South African College of Music, University of Cape Town. A mixed methods approach was adopted including semistructured interviews, a questionnaire-based survey and a brief comparative statistical analysis of student aural and theory marks over a five-year period. The theoretical framework adopted for this study consist of merging Embodied Cognition Theory, Dynamic Systems Theory and Self-determination Theory. Participants included current students enrolled in the Aural Intro, Aural I and Aural II courses as well as current tutors, former tutors and other professionals in this field. Findings with possible relevance outside of this demarcated study range from the variance in music education background of incoming students to a lack of problem-solving strategies, exercising various degrees of influence over student perception and motivation and thus directly impacting the effectiveness of an aural education system.
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Msimango, Linda Nombuso Pearl. "An investigation into the relevance of formal training in music education to jazz teaching in South Africa." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7974.
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Includes bibliographical references (leaves 90-99).The primary objective of the study was to investigate the necessity of equipping professional jazz teachers with general music educational principles. A sample was drawn from the students and lecturers at three selected tertiary institutions. The secondary objective was to determine who is deemed competent to teach jazz at tertiary institutions: professional players, professional players with a teacher-training qualification in jazz, or both. Three of the tertiary institutions in South Africa that offer jazz as part of their curricula were chosen: the University of Cape Town, the University of Natal, Durban, and the Technikon Natal. A questionnaire survey and interviews were utilised as the means of collecting information about issues concerning jazz education. A quantitative research design was used to analyse the results obtained from the questionnaires. The results were tabulated in basic descriptive statistical form and the interviews were qualitatively analysed. In addition, five hypotheses were formulated and tested using chi-square tests. A number of the interviewees supported the idea of equipping professional jazz teachers with general music educational principles; however, there were those who felt that their experience in the field was sufficient to enable them to be competent jazz teachers. The results from both the student questionnaire and lecturer interviews indicated that a combination of both professional players and professional players with a teacher- training qualification are needed. It was recommended that further research on jazz education should be undertaken to account for issues relating to teacher training in music education in South Africa. A curriculum that suits students and professional players who are interested in becoming competent jazz educators should be developed.
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Van, Rensburg Adriana Janse. "Guided composition : an integrated, outcomes-based music curriculum for grade 8." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/51781.
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Thesis (MMus) -- University of Stellenbosch, 2000.ENGLISH ABSTRACT: This study involves the research and documentation to develop an integrated, outcomesbased curriculum for music education in Grade 8 in South Africa by using guided composition as a teaching method. Directives from the new national curriculum, i.e. Curriculum 2005, the current Western Cape Education Department's syllabus for Music and the British National Music Curriculum are considered and applied. Composition is a medium that assists learners in exploring sound in an approach that emphasizes discovery through processes of creative thinking when organizing sound. Music as an art form cannot be mastered through discussion and performance alone. This study focuses on how composition helps learners to explore and discover through problem-solving activities when learning to think in sound and to manipulate the language of music. General perspectives on music education curricula are researched to determine an acceptable theoretical proficiency level for Grade 8. The praxial music educational approach of David Elliott is used as a philosophical foundation for developing the composition program curriculum. Actively making music, developing musicianship and developing creativity in music education form the backbone of this author's approach and hence an accountable basis for a curriculum. Fundamental issues in developing a curriculum are examined, the crux being how we learn. Cognitive apprenticeship and reflective thinking as praxial techniques focussing on integrated and holistic learning are proposed as a methodology for a music education curriculum, in this case composition. A curriculum for guided composition is designed and set out in four stages according to the four stages of curriculum development as proposed by David Elliott. Orientation, preparation and planning, teaching and learning and evaluation and assessment are addressed. This composition program attempts to situate and activate musical learning by proposing teaching and learning skills through which learners can activate and catalyze their creativity. When learning and experiencing music in a situated, authentic and practical way, as through composition, lifelong involvement, musical skills and continued enjoyment and accountability for the subject can be stimulated and established.
AFRIKAANSE OPSOMMING: Hierdie studie behels die navorsing en dokumentasie van die ontwikkeling van 'n geïntegreerde, uitkomsgebaseerde kurrikulum vir musiekopvoeding in Graad 8 in Suid- Afrika deur begeleide komposisie as 'n onderrigmetode te gebruik. Riglyne uit die nuwe nasionale kurrikulum, nl. Kurrikulum 2005, die huidige Wes-Kaap Onderwysdepartement se sillabus vir musiek en die Britse Nasionale Musiekkurrikulum word ondersoek en toegepas. Komposisie is 'n medium wat hom by uitstek daartoe verleen om op ontdekkende wyse, deur middel van kreatiewe prossesse, klank te eksploreer wanneer dit georganiseer word. Musiek as kunsvorm kan nie bemeester word deur blote besprekings oor musiek en voordrag alleen nie. Hierdie studie ondersoek hoe komposisie leerders kan help om te eksploreer en te ontdek deur middel van probleemoplossingsaktiwitieite wanneer hulle leer om in klank te dink en die taal van musiek te manipuleer. Breë perspektiewe op musiekopvoedkundige kurrikula word ondersoek om 'n aanvaarde vlak van teoretiese bevoegdheid vir leerders in Graad 8 te bepaal. Die praksiële musiekopvoedkundige benadering van David Elliott is die vertrekpunt om as filosofiese basis vir die ontwikkeling van hierdie komposisieprogram te dien. Aktiewe musisering. die ontwikkeling van musiseerderskap en die stimulering van kreatiwiteit in musiekopvoeding vorm die ruggraat van hierdie outeur se benadering en derhalwe 'n besinde basis vir 'n kurrikulum. Fundamentele aangeleenthede in die ontwikkeling van 'n kurrikulum word ondersoek, waar die kruks lê in hoe ons leer. Kognitiewe vakleerlingskap en reflektiewe denke is praksiële tegnieke wat fokus op geïntegreerde en holistiese leer en word voorgestel as 'n metodologie vir 'n musiekopvoedkundige kurrikulum, in hierdie geval komposisie. 'n Kurrikulum vir begeleide komposisie word ontwerp en word voorgestel in vier fases volgens die vier fases van kurrikulum-ontwikkeling van David Elliott nl. oriëntasie, voorbereiding en beplanning, onderrig en leer en evaluasie en assessering. Die komposisieprogram word geëvalueer en metodes van kurrikulum-evaluering word beskryf. Die komposisieprogram poog om musikale leer te situeer en te aktiveer deur onderrigen leervaardighede voor te stel waardeur leerders hul kreatiwiteit kan aktiveer en kataliseer. Wanneer musiek in 'n gesitueerde en outentiek praktiese wyse geleer en ervaar word, soos deur komposisie, kan lewenslange leer, musikale vaardighede, voortgehoue genot van musiek en regverdiging van die vak gestimuleer en gevestig word.
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McNeill, Fraser George. "An ethnographical analysis of HIV/AIDS in the Venda region of South Africa : politics, peer education and music." Thesis, London School of Economics and Political Science (University of London), 2007. http://etheses.lse.ac.uk/2700/.
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This thesis explores the dynamics of HIV/AIDS in the Venda region of South Africa through an exploration of post-apartheid traditionalism and the anthropology of knowledge at the juncture of planned AIDS interventions. It argues that current policies of peer education act to reinforce the patriarchal Venda aetiology through which men and older women explain sexually transmitted infections in terms of blood related taboos and the build up of pollution. This has resulted in a situation where many Venda men are more concerned with who they sleep with, rather than how "safe" the encounter may be, and has reinforced or even given rise to widely held idea that condoms cause AIDS. By looking at AIDS education through the political economy of traditional leadership in the region, the thesis locates concepts of AIDS, musical performance, power, generational authority, death and secrecy in the context of a post-apartheid struggle for the consolidation of political power between the royal houses of Mphephu and Tshivhase. This has exacerbated historical tensions between the rival centres of power, and encouraged the implementation of policies through which the ANC doctrine of African renaissance has taken centre stage. It argues that, in this context, official attempts to increase the frequency of female initiation schools have bolstered the generational authority of older women and increased the extent to which HIV/AIDS is understood through the "folk model" of blood taboos and pollution. Although peer education creates a space in which younger women - mostly through the singing of songs - promote biomedical notions of sexual health and healing, this space should not be conceptualised simply as a site of "resistance" against these structural forms of authority. It also provides them with a basis for securing positions of employment in health-related government programmes, and as such acts as a potential vehicle for upward mobility among the rural poor. Their desire to change the social/sexual health environment is thus matched by their desire to transcend and move away from it, given that it constructs them as vectors of the virus.
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Malan, Sandra Ruth. "Celebrating cultural diversity : implementing an integrated approach to arts and culture in the intermediate phase of curriculum 2005." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16384.
Full textAbstract:
Thesis (M.Mus)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: Since its inception, educators across the board in South Africa have struggled to implement the new curriculum. Initial problems with terminology and availability of learning materials have been addressed, but still the resistance to Outcomes Based Education (0BE) and Curriculum 2005 (C2005) continues. Some of the reasons for the resistance point to feelings of disempowerment experienced by generalist and specialist educators who now have to teach the new Learning Area Arts and Culture. This has been attributed to, amongst others, a lack of training, resulting in feelings of inadequacy, inappropriate training for large multicultural classes and the lack of teaching resources. Another reason for the resistance has been described as a resistance to change. Many educators have found it difficult to make the paradigm shift from the previous educational system to OBE and C2005. The aim of the study is to research and explore ways of empowering educators to teach Arts and Culture. The new educational system is geared to redressing the imbalances of the past and giving more expression to the diversity of cultures represented in South African schools. Whereas the previous system was founded on exclusively Eurocentric ideology, principles and values, the new system aims at a more inclusive Afrocentric approach. However, criticisms leveled at C2005 have suggested that it is still basically Western in terms of values, terminology and methodology. This study is therefore aimed at investigating a culturally diverse music/arts curriculum, which draws on the wealth of resources, methods and modes readily accessible in South Africa. A comprehensive literature review guides the study towards a greater understanding of how cultural identities are formed out of a need to belong and how important recognition is to individuals and groups, particularly in terms of their diverse cultural expressions. Music and the arts are understood as being vitally important channels for expression of this diversity. Yet, true to the Afrocentric principle of holism, unity is found in diversity. As much common ground exists between an integrated approach and an Afrocentric approach to music/arts education, these principles are explored to determine whether they can be adapted for use in contemporary South African classrooms. An integrated project mode, which provides a balance between the specific knowledge contexts of the various Learning Areas and collaborative learning aimed at developing the natural links between learning areas to create a vibrant whole, is suggested. The researcher conducted an integrated project at her school with the common theme of "District Six" linking four Learning Areas and their components. Participatory action research using qualitative methods such as questionnaires were used to determine the feasibility of an integrated project mode of learning as a means of empowering educators to teach Arts and Culture. Subsequently recommendations were made regarding implementation.
AFRIKAANSE OPSOMMING: Sedert die instelling van die nuwe kurrikulum in Suid-Afrika het opvoeders gesukkel om dit te implementeer. Die aanvanklike probleme met terminologie en die gebrek aan geskikte bronne is aangespreek, maar die weerstand het nie verminder nie. Van die redes hiervoor verwys na gevoelens van ontmagtiging onder algemene en gespesialiseerde opvoeders wat die nuwe leergebied van Kuns en Kultuur moes aanbied. Die weerstand word toegeskryf aan, onder andere, gevoelens van ontoereikendheid, onvanpaste opleiding om met groot multi-kulturele klasse te werk en 'n gebrek aan onderrigbronne. 'n Ander rede is beskryf as teëstand teen verandering. Baie opvoeders het dit moeilik gevind om die paradigma-skuif te maak vanaf die vorige stelsel na Uitkoms Gebaseerde Onderwys (UG0) en Kurrikulum 2005 (K2005). Die doel van die studie is dus om navorsing te doen en ondersoek in te stel na maniere waarop opvoeders bemagtig kan word om Kuns en Kultuur aan te bied. Die nuwe opvoedingstelsel is gefokus op regstelling van die onewewigtighede van die verlede en op 'n groter uitdrukking van die kulturele diversiteit wat in Suid-Afrikaanse skole verteenwoordig is. Terwyl die vorige stelsel gebaseer was op 'n Eurosentriese ideologie, beginsels en waardes, is die nuwe gefokus op 'n Afrosentriese benadering. Tog is daar kritiek teen Kurrikulum 2005 juis omdat dit nog altyd gebaseer is op Westerse waardes, terminologie en metodes. Die studie gaan dus oor 'n kurrikulum vir musiek en die kunste wat inspirasie put uit die rykdom van Suid-Afrikaanse bronne, metodes en modusse. 'n Omvattende literatuur oorsig voer die studie tot die begrip dat kulturele identiteit gevorm word uit 'n behoefte om te behoort en deel te wees, hoe belangrik erkenning van individue en groepe is, veral om hul diverse kulturele identiteit uit te druk. Eie aan die Afrosenstriese beginsel van holisme kan eenheid binne diversiteit gevind word. Omdat daar baie gemeenskaplikheid bestaan tussen 'n geïntegreerde en 'n Afrosentriese benadering tot musiek/kuns opvoeding, word die beginsels verken om te bepaal of dit aangepas kon word vir gebruik in hedendaagse Suid- Afrikaanse klaskamers. 'n Geïntegreerde projek-modus word voorgestel, wat 'n balans skep tussen die spesifieke kontekste van kennis in verskeie Leerareas en koöperatiewe leer wat daarop gemik is om die natuurlike skakels tussen die verskillende Leerareas te ontwikkel sodat 'n groter geheel geskep word. Die navorser het by haar skool 'n geïntegreerde projek oor Distrik Ses geloods wat vier leergebiede, insluitend hul komponente, ingetrek het. Deelnemende aksie-navorsing soos vraelyste is gebruik om die uitvoerbaarheid van die geïntegreerde projek-metode te bepaal as 'n metode om opvoeders te bemagtig om Kuns en Kultuur by skole aan te bied. Dit sluit af met voorstelle wat gemaak is in verband met die implementering van die nuwe Kurrikulum.
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Klopper, Christopher John. "Variables impacting on the delivery of Music in the learning area Arts and Culture in South Africa." Thesis, Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-08222005-140312/.
Full text
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Nkosi, A. D. "Modern African classical drumming : a potential instrumental option for South African school Music curriculum." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/43292.
Full textAbstract:
The Curriculum and Assessment Policy Statement or CAPS (which is the modified
extension of the National Curriculum Statement policy), Music learning area, gives an
option for Music learners to follow the Indigenous African Music (IAM) stream. This
caters for them to be examined in African instruments. Currently, there are no available
prescribed instrumental curricula in any IAM instrumental practices that learners can
follow should they choose the IAM stream. Therefore, this research was prompted by
the need for graded curriculum in IAM instruments for Music learners at the Further
Education and Training (FET) level.
This quantitative research focuses on the incorporation of contemporary African
instrumental music practices in the modern Music curriculum as demanded by current
trends, multiculturalism and multi‐ethnic societies with their emerging modern culture
which to an extent nevertheless still embrace old traditions. The research is
underpinned by the theoretical framework of multicultural music education.
This study comprises two sections. Section one analyzes the dilemma that the South
African Music curriculum faces when incorporating indigenous African instruments for
examination at FET level and poses questions on how and which instrumental practices
can be part of the possible solution. It revisits the epistemology of traditional African
drumming and investigates how some of the traditional drumming practices have
changed and are practised in the contemporary context.
Section two introduces a contemporary African instrumental practice whose
development is rooted in the generic traditional idioms of African drumming. This
contemporary drumming style is not tied to a specific ethnic group but rather a creative
continuum of African traditional drumming. This practice is explored as a potential
instrumental option for the South African Music curriculum (IAM stream); through
conducting of training workshops, progress survey and the evaluation of the
implementation process of the pilot graded model curriculum. Lastly, pedagogical
instructions on teaching, learning and evaluation of this contemporary drumming
practice are provided.Thesis (DMus)--University of Pretoria, 2013.
lk2014
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Chandler, Paul. "The township trumpet educator." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53180.
Full textAbstract:
Thesis (MMus) -- Stellenbosch University, 2002.ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody.
AFRIKAANSE OPSOMMING: GEEN
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Coetzee, Elthea. "Creative group music teaching and the principles of Gestalt play therapy in the foundation phase in South African education." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5290.
Full textAbstract:
Thesis (MMus (Music))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: Music teaching in groups is an important aspect of the development of the child in Foundation Phase teaching. Early childhood has been described as the most critical period in the child’s musical development. With the introduction of Outcomes based Education in South Africa, the curriculum regarding the presentation of music classes has changed. Similarities between music group classes and Gestalt Play Therapy were investigated, with the aim of incorporating concepts of Gestalt Play Therapy into music group classes. Legislation was studied in order to determine the expectations of the South African government, and specifically the education departments, relating to music teaching. In the present curriculum, the weight allocation for music in the Foundation Phase was significantly reduced from what it was previously. Teachers must structure their own music programme into their curriculum. Investigation into the presentation of creative music group classes, with the incorporation of the principles of Gestalt Play Therapy, was undertaken in this research study. Gestalt Play Therapy is a holistic approach that combines the principles of Gestalt theory with Play Therapy. Research was undertaken to investigate whether specific stages in Gestalt Play Therapy could be successfully combined with music group classes. This research emphasizes that the developmental stages of the child, specifically physical, neurological, cognitive and language development, should be taken into account when presenting lessons, and that children may be guided towards a higher level of integration and balance in themselves. Research into OBE principles suggests that the way forward could be a continuation of the OBE model, but with certain amendments. An inductive study of practical observation and presentation of creative group classes was undertaken. It was found that most teachers were not adequately qualified to present music classes, and creativity was not satisfactorily addressed in their lessons.
AFRIKAANSE OPSOMMING: Musiekonderrig in groepe is ‘n belangrike aspek rakende die ontwikkeling van die kind in Grondslagfase onderrig. Vroeë kinderjare word beskryf as die mees kritieke periode in die kind se musikale ontwikkeling. Met die inwerkingstelling van Uitkomsgebaseerde onderrig in Suid-Afrika, het die kurrikulum aangaande die aanbieding van musiekklasse verander. Ooreenkomste tussen musiekonderrig in groepe en Gestalt Spelterapie is ondersoek, met die doel om konsepte van Gestalt Spelterapie in musiekonderrig in groepe te inkorporeer. Wetgewing is bestudeer om die verwagtinge, aangaande musiekonderrig, van die Suid Afrikaanse regering, en spesifiek die onderwysdepartemente, te bepaal. Binne die huidige kurrikulum is die gewig toegeken aan musiek, binne die Grondslagfase, aansienlik verminder van voorheen. Onderwysers moet self hul musiekprogramme binne hulle kurrikulum struktureer. ‘n Ondersoek is geloods om die aanbieding van kreatiewe musiekonderrig in groepe te kombineer met die beginsels van Gestalt Spelterapie. Gestalt Spelterapie is ‘n holistiese benadering wat die beginsels van Gestalt teorie kombineer met Spelterapie. Navorsing is gedoen om te bepaal of spesifieke stadia in Gestalt Spelterapie suksesvol gekombineer kan word met musiekonderrig in groepe. Hierdie navorsing benadruk dat die ontwikkelingsstadia van die kind, spesifiek fisiologies, neurologies, kognitief en taalontwikkeling, in ag geneem moet word wanneer lesse aangebied word, en dat kinders hierdeur gelei kan word na ‘n hoër vlak van innerlike integrasie en balans. v Navorsing gedoen betreffende die beginsels van Uitkomsgebaseerde onderrig is aanduidend dat hierdie onderrigmodel wel voortgesit sou kon word, maar met bepaalde aanpassings. ‘n Induktiewe studie van praktiese waarneming sowel as aanbieding van kreatiewe groepsklasse is onderneem. Daar is bevind dat die meeste onderwysers nie voldoende gekwalifiseerd is om musiekklasse aan te bied nie, en kreatiwiteit is ook nie bevredigend in hulle lesse aangespreek nie.
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Le, Roux Babette. "Music in the community : a study of community music projects in the Western Cape, with specific reference to the Redefine Music Education Project, in Kuils River." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3028.
Full textAbstract:
Thesis (MMus (Music))--University of Stellenbosch, 2009.The initiation and establishment of community music projects have been increasing in number in South Africa in the last decade due to the growing interest in these projects’ beneficial outcomes. Music education, music activities and a myriad of opportunities through music are provided to under-privileged communities who would otherwise be deprived thereof. The Redefine Music Education Project is a community music project situated in Kuils River and which draws learners from local impoverished communities and townships. The efficient management of project, staff and learner commitment, and community involvement has resulted in various project and learner achievements. However, it has also undergone several setbacks and faces frequent challenges. Due to the Redefine Music Education Project’s success rate and sustained years of operation, it is considered as one of the Western Cape’s reputable community music projects. This research study sets out by evaluating the need and role of a community music project in disadvantaged communities as well as describing the qualities that make a community music project successful. The research uncovered the impact that such a project has on the individual and on local communities in the Western Cape. A noteworthy result of the study is the fact that it serves as guidance and motivation to other operating and upcoming community music projects. It also provides and opens further opportunities of study and research regarding music in the community.
Die inisiëring en vestiging van gemeenskaps-musiekprojekte het in die laaste dekade in Suid-Afrika toegeneem vanweë die groeiende belangstelling in die voordelige uitkomste van hierdie projekte. Hierdie projekte bied musiekopvoeding, musiekaktiwiteite en ontsluit geleenthede deur musiek aan minder bevoorregde gemeenskappe wat andersins nie daarmee in aanraking sou kom nie. Die Redefine Music Education Project is 'n gemeenskaps-musiekprojek geleë in Kuilsrivier. Die projek staan grootliks in diens van leerders uit plaaslike verarmde gemeenskappe en townships. Die doeltreffende bestuur van die projek, personeel en leerder-toewyding, en gemeenskapsbetrokkenheid het verskeie projek- en leerderprestasies tot gevolg gehad. Die projek het egter ook verskeie terugslae ervaar en staar voortdurende uitdagings in die gesig. As gevolg van die Redefine Music Education Project se suksesse en die hoeveelheid jare wat dit reeds bestaan, word dit gereken as een van die Wes-Kaap se maatgewende gemeenskaps-musiekprojekte. Hierdie navorsing evalueer die behoefte aan en rol van 'n gemeenskaps-musiekprojek in minder bevoorregde gemeenskape. Dit ondersoek ook die kwaliteite wat so 'n projek help om suksesvol te wees. Die navorsing toon uiteindelik ook die impak wat so 'n projek op individue en op plaaslike gemeenskappe in die Wes-Kaap het. 'n Betekenisvolle resultaat van die studie is dat dit as gids en motivering dien vir ander huidige en toekomstige gemeenskaps-musiekprojekte. Dit beskryf ook verdere geleenthede vir studie en navorsing ten opsigte van musiek in die gemeenskap.
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Roué, Nathalie Yvette. "Exploring music education as an agent of social development and change in Mamelodi a community in South Africa / Two examination concerts." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65600.
Full textAbstract:
This research aimed to explore how music education can serve as an agent of social development in Mamelodi, a community in South Africa. After the democratic elections in 1994, the concept of ‘Magnet’ schools was established by the Gauteng Department of Education in order to provide specialised skills such as music in disadvantaged communities. A qualitative intrinsic case study was followed to better understand how music learners experience music education as a whole and how they apply it to their lives. Six participants from the Mamelodi Magnet School were selected and interviewed to gain insight regarding how music education may contribute towards the personal and social development of music learners at the school. Additionally, weekly observations were made during individual instrumental music lessons and described in a reflection journal. Data analysis revealed that music education is a powerful catalyst in the lives of music students at the Magnet School, leading to extensive values and benefits to these individuals and the wider community. Three main themes emerged from data analysis, namely personal value and life skills development; social development and social capital; and transformation through music education. These themes are interrelated and link to several subthemes, such as the development self-esteem, motivation, responsibility, self-discipline, and time-management skills on a personal level. Themes related to enhanced social skills include friendships and social inclusion, learning new skills, networks and connections, reciprocity, and improved social norms and values. By providing a structured learning environment, the Magnet School offers learners the opportunity to learn a musical instrument, expand their knowledge of music, and to acquire life-skills. In doing so, these learners not only improve their education and possibilities for sustainable futures; they also gain important personal and social values that contribute towards their holistic education. By teaching more than music, the Magnet School can be the key to unfold a student’s life journey, filling it with creativity, dreams and hope.Dissertation (MMus)--University of Pretoria, 2017.
Music
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Smit, E. (Etienne). "Musiekopvoeding onder die Kaaplandse Departement van Onderwys, 1916-1984 : 'n histories-kritiese studie." Thesis, Stellenbosch : Stellenbosch University, 1985. http://hdl.handle.net/10019.1/70248.
Full textAbstract:
Thesis (PhD)-- Stellenbosch University, 1985.Includes bibliography
INLEIDING: Daar is nog nie veel navorsing ten opsigte van musiekopvoeding en -onderwys, soos dit in die Suid-Afrikaanse situasie van toepassing is, voltooi nie. Name wat in hierdie verband wel vermelding verdien, is o.a. Jan Bouws, Theodore C. de Villiers, Anna C.M. Fick, Philip McLachlan, Rachel E. Pienaar, Petrus Roos, Gertruida M. Steyn, Anna G.J. van Wyk en Arthur Wegelin. Die terrein sover dit Kaapland betref, is ook nog nie deeglik verken nie, hoewel waardevolle werk deur Mej. Acàma Fick van die Universiteit Stellenbosch gedoen is ten opsigte van die geskiedenis van skoolsang in Kaaplandse skole tot 1915, die afsluiting van die Muirtydperk. Gevolglik is 1916 gekies as die aansluitingsjaar vir hierdie studie oor die ontwikkeling van musiekopvoeding onder die Kaaplandse Onderwysdepartement (K.O.D.). Ten einde 'n hydrae tot die moontlike verdere ontwikkelinge op hierdie gebied te kan lewer, is ook besluit om die studie tot 1984 deur te trek.
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Rademan, Carika. "Evaluating the efficacy of training programmes for secondary school music teachers at higher education institutions in the province of the Eastern Cape." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1019925.
Full textAbstract:
Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.
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Green, Sarah. "An exploration of how Foundation Phase Mathematics and English can enhance teaching and learning through Music integration, according to the South African Curriculum." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78275.
Full textAbstract:
Schools have to adjust to accommodate subjects that are 21st century appropriate in an
already full curriculum. Educators feel overwhelmed and unequipped to handle all the
expectations of the curriculum. Many are led to believe that Mathematics, Language and
Music go hand in hand. There must be a more effective way to teach these three subjects,
especially considering the biggest concern in education is always insufficient time. This
study investigated the natural relationships between English, Mathematics and Life Skills in
the Foundation Phase, to determine if true integration is viable. A document analysis was
conducted to examine various curriculum documents including the National Curriculum, the
National Protocol for Assessment Grade R – 3, and the CAPS document with the focus on
Mathematics, English and Life Skills in the Foundation Phase. The findings include the
potential for introducing integration of musical activities through similar topics as well as
using various teaching and learning strategies that are able to construct deeper
understanding. Considering the natural connections between subjects and themes, music
activities can offer validity in the curriculum.Dissertation (MMus (Music Education))-- University of Pretoria, 2020.
Music
MMus (Music Education)
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Cloete, Erna Petronella. "Assisting in-service grade R teachers to nurture the holistic development of the five to seven year old child through music : a participatory approach." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021177.
Full textAbstract:
Music’s significant contribution to the holistic development of the young learner is uncontested and confirmed by views of seminal scholars, such as Nzewi 2003, Reimer 2003, Nussbaum 2001, Elliot 1994 and Merriam 1964, amongst others. As such, music education supports basic values of self-growth, self-knowledge and enjoyment. This study argues for the vital importance of music education in Grade R in the South African schooling system where teachers can successfully implement the curriculum. In post-apartheid multicultural and multi-musical South Africa music education in Grade R is the sole responsibility of the generalist Grade R teacher. However, due to inadequate training and minimal, unproductive in-service initiatives, the vast majority of Reception Year teachers assumingly do not have the required competences to teach music in a way that maximally enhances the holistic development of their learners. Findings revealed that teachers exhibited limited, if any, musical knowledge and per se, they are insufficiently skilled in the effective delivery of the curriculum in terms of music. This study acknowledges the need to equip in-service Grade R teachers with the required competences to effectively implement the national school and teach music with confidence. The lack of successful and effective continuing professional teacher development initiatives from the Department of Education and Department of Basic Education to assist Grade R teachers in teaching music, was a serious concern to me. This concern reinforced the motivation to embark on this project. In this thesis, I report on an intervention strategy aimed at enabling three Grade R practitioners at one peri- urban township school in the Eastern Cape to improve their music education competencies. These three Coloured ladies only held a Certificate in Early Childhood Development, rating at an NQF level 4 and 5. None of these practitioners had any prior music experience in music training, music making or music teaching. I utilised a Participatory Action Learning and Action Research (PALAR). PALAR combines research with development and is thus highly suitable when addressing multifaceted problems in rapidly changing environments, such as South Africa. In my study, the participants were thus actively involved in identifying problems and creating solutions. A number of collaborative interactions and qualitative data generation strategies such as Focus Group Interviews, Observations, Drawing, Interviews, Narrative Inquiry, Case Study and Reflective Journals were implemented. Findings indicated that the practitioners experienced transformation on both a professional and personal level as they discovered and tapped into their own innate musical competences. This enabled them to explore ways to teach music that enhanced the holistic development of their learners, developing them physically, cognitively emotionally, socially, and musically. Learners likewise benefitted from the intervention as they experienced social cohesion in a multicultural classroom and gained the fruits of music’s remedial impact and therapeutic value in their lives.
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Bain, Pauline. "Jah children the experience of Rastafari children in South Africa as members of a minority group with particular reference to communities in the former Cape Province." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002650.
Full textAbstract:
This thesis is an ethnography of Rastafari childhood in the former Cape Province, South Africa, through the eyes of both parents and children. If children are a ‘muted group’, then what are the identity formation implications for “double-muted” groups, the children of ethnic minorities whose voices are not heard? Rasta parents’ experience of the struggle, ie. the opposition to apartheid, has shaped the Rastafari chant of ‘equal rights’ and ‘justice’ into a distinctly South African form of protest and resistance. Their childhood experiences have resulted in a desire to provide a better life for their children, using Rastafari as a vehicle. This is expressed in a continuation of the struggle that was started during apartheid, in the Rasta ideology children grow up learning. The Rasta child has become a contested body in this struggle. The South African Government, through policy, has a mandate to protect the child, and legislature exists to do so in accordance with international law. However, as child-raising differs phenomenally from culture to culture, these goals on the part of the State start infringing upon the rights and freedoms of minorities to raise their children according to their own cultural goals. This study examines the tension between Rastafari and government with regards to child raising, specifically looking at the following main points of contestation: public health, public schools and policy/legislation; in order to examine how Rasta children negotiate their identity in the face of these conflicting messages and struggles. Their identity can be influenced by three main groups, the Rasta family they grow up in; school; and multi-media. What these children choose to accept or reject in their worldview is moderated by their own agency. This study shows that this tension results in a new generation of Rastafari children, who are strongly grounded in an identity as Rastafari and take pride in this identity. It also illustrates how Rastafari are impacting on and changing government policy through resistance. Their successes in challenging the state on the grounds of multiculturalism and religious freedom, has helped in the attainment of a sense of dignity.
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Johansson, Lina. "Musik som ett specialpedagogiskt verktyg för barns språkutveckling : Fem sydafrikanska pedagogers syn på musik som pedagogiskt verktyg." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31975.
Full textAbstract:
The purpose of this essay is to study if and how five South African educators work with music as a special pedagogical tool in children's language development. To achieve the purpose of this study, two research questions were created. As method, interviews of a qualitative character were chosen. The aim of the method is to give the educators the opportunity to think about and use their own experience before answering the questions. The result shows that the South African educators are not using music as a special educational tool. They rather use music as an everyday educational tool to promote children's language development. The result indicates that music in educational activities promotes children’s communication with each other. Through music, children also develop their body language. As a general educational tool, music becomes important for children’s development.
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Yafele, Anki. "Musik, förändring och framtidsdrömmar : En kvalitativ studie av det sydafrikanska musikutbildningsprojektet, Acess Music Project." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67374.
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This study is an examination of how a music education that is run by a NGO, Non Governmental Organisation, in South Africa works. The organisation Arkwork for Art NPC, and their artistic programme Access Music Project, AMP, based in Grahamstown in Eastern Cape province, works as an case study. This study shows what different opportunities and challenges are of the work with the project and describes who the young participants enrolled in the project are and how they experience the music education. Further more this work explore the relationship between music education and social justice. Information was gathered through qualitative semi-structured interviews with the participants and project founder and leadership of the project. Partly information also was gathered through unstructured observations. The result shows that Arkwork for Art is filling an important gap where the government lack resources to offer music education for youth in marginalised communities. The organisation struggle with many things, most difficult for them is to get stable funding. AMP have many big future plans and want for instance to change the curriculum of music education in the future. My examination shows that the participants are very satisfied to be a part of AMP and that the project has an important role in their lifes and the community where they are based.
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Kriger, Samantha. "The influence of music in the development of reading in foundation phase learners: a socio-cultural case study of a South African primary school." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12887.
Full textAbstract:
Includes bibliographical references.As a music educator actively involved in teaching learners from ages five to seventeen years over the past nineteen years, the researcher has noted the reading abilities of the learners drop over the years. This could be due to various factors such as large class sizes, changes in curriculum, teacher inadequacy and parents’ lack of involvement due to work commitments. It is for this reason that it is important for the educator to be able to use various methods to help with reading development, especially in the young learner. Growing research has indicated that music activities may be beneficial for other academic studies and in this study the focus will be on the reading development of the Foundation Phase learner. There is a relationship between music skills and reading, and studies have proved that increased learning in one area may increase outcomes in another. This study will evaluate whether the learner involved in various music activities has shown an improvement in reading scores from Grade One through to Grade Three.
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Mitas, Andrea Lynne. "A critical comparison of the role and function of music education in the foundation phase of the post-apartheid South African school curricula." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46024.
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Music education in South Africa has been portrayed as a multifaceted and complex journey (Stig-Magnus, 1997: 1), because of the political influences which have been evident in the country’s education system since 1658. South African music education has developed from 1997-2011 over the years from a skill that has to be taught, promoting the development of positive citizenship.
The study was based on a critical investigation of the shift in content between the three National Curriculum Statements, namely the National Curriculum Statement 1997, the Revised National Curriculum Statement 2002 and the Curriculum and Assessment Policy Statement 2011. An in-depth comparison and analysis of the documents of the National Curriculum Statement of 1997 and 2002 against that of the Curriculum Assessment and Policy Statement, 2011 with regard to integration of music education in the Foundation Phase was done.
Analysis of the data indicate very little variance in the knowledge, skills and values of the three National Curriculum Statements in respect to philosophy and methodology of music education within the Foundation Phase. The study addresses questions surrounding the specific role and function of music education within the Foundation Phase as well as the way in which South African music educators have coped with the transition of curricula change from 1997 through to 2011. Research reveals strong educational influences from international countries and philosophers and the relationship between language and music is evident in the teaching methods of these philosophers.
The researcher strongly recommends a continuation of philosophical and theoretical prescriptions by international influences whilst simultaneously strengthening the existing curriculum which all music educators in South Africa can utilise and which will subsequently make the curriculum uniquely South African.Mini-dissertation (MMus)--University of Pretoria, 2014.
tm2015
Music
MMus
Unrestricted
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Mbusi, Nokwanda Princess. "An investigation into the use of traditional Xhosa dance to teach mathematics: a case study in a Grade 7 class." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003499.
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This study seeks to explore mathematical concepts embedded in traditional Xhosa dance and how these concepts can be incorporated into a learning programme for the teaching and learning of mathematics. The study seeks to gain insight into whether learners could benefit from the implementation of such a learning programme. Learners from a Grade 7 class in a rural school performed traditional Xhosa dances and their performances were captured through video recording. The video recordings were then observed and analysed to determine the mathematical concepts embedded in the dances. These concepts were then linked to those found in the Grade 7 mathematics curriculum. A learning programme integrating mathematical concepts from the dance activities with mathematical concepts from the Grade 7 curriculum was then designed. The learning programme contained mathematical problem solving activities that required learners to re-enact the dance performances in order to find the required solutions. The learning programme was then implemented with the learners over a period of three weeks. During the implementation, learners’ behaviour towards the learning experience was observed, their engagement with the problem solving activities as well as their strategies for solving the problems, were carefully observed. Also, their interactions with each other were noted. After the implementation of the learning programme, focus group interviews were held with learners to determine their opinions, attitudes and feelings about their experience of learning mathematics through traditional Xhosa dance. Key findings indicated that traditional Xhosa dance can be used as a medium for learning many concepts in the mathematics curriculum; the use of the dance gave learners an opportunity to learn mathematics from a familiar context and to participate actively and collaboratively in their learning. Also, it emerged that the use of dance to teach mathematics had potential to help improve learners’ attitudes towards mathematics. Conclusions were reached that the dance had potential for use as a means for the meaningful learning of mathematics. However, limitations and challenges with the study were identified, such as its limited replicability in other mathematics classrooms.
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Hoek, Elizabeth Antoinette. "South African unit standards for a general music appraisal programme at NQF levels 2-4, with special reference to ensemble specialisation for available instruments." Thesis, University of Pretoria, 2001. http://hdl.handle.net/2263/30172.
Full text
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Steltzner, Becky L. "The history of the clarinet in South Africa." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.
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This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.
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Holden, Carolyn. "Flamenco in South Africa: outsider in two places." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11440.
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Includes abstract.Includes bibliographical references.
This dissertation interrogates the notion of flamenco identity in order to establish a case for the existence of a legitimate flamenco identity outside of Spain, and specifically in South Africa. Verification of the existence of a legitimate flamenco sub-culture in South Africa would add gravitas to the practise of flamenco by South Africans (as well as other outsiders across the globe), helping to shift the unspoken parameters governing who has the right to teach and perform flamenco, and which criteria might be used to decide this.
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(IEASA), International Education Association of South Africa, and Nico Jooste. "Study South Africa." International Education Association of South Africa (IEASA), 2014. http://hdl.handle.net/10962/64864.
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[Editor's Letter]: This 14th edition of Study South Africa foregrounds the celebration of 20 years of a democratic South Africa. Patrick Fish was commissioned to write a series of articles reflecting the development of South African Higher Education since 1994 for this edition. Reading through this the reader will hopefully experience a sense of the transformation of the South African Higher Education system. Although we all agree in South Africa that we are not done yet, we also recognise that given the South African realities, the change from a race based and fragmented system of higher education to a single but diverse system is well under way. The South African Universities transformed from mostly mono cultural to multicultural institutions that largely reflects the composition of the South African population. The University campuses also demonstrate the institutional appetite to be international. Not only do they jointly house more than 50,000 international students but are also involved in numerous ways in bringing the benefits of being globally connected to the local communities. We are one of the few higher education systems that largely fund our international activities from institutional budgets. This is one of the main reasons that South African Universities practice a style of internationalisation that is relevant to our institutional needs, as well as the local and national needs. Through our internationalisation endeavours we have connected with the rest of Africa in a very special way. Not only do we educate large numbers of students from other African countries but through the South African Higher Education alumni that now live all over the African continent we have built permanent connections that will enhance and develop long standing relationships. IEASA celebrates with all South Africans 20 years of democracy and realise that it is indeed a privilege to be practitioners in transformed ‘knowledge cities’. We are, however, saddened by the incidents of intolerance and destruction in other parts of the world that make the work of higher education institutions impossible, and can only in solidarity with those scholars at risk celebrate with deep appreciation the efforts and determination of those South Africans that made it possible for us to be Universities in a free and democratic society.
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(IEASA), International Education Association of South Africa, and Nico Jooste. "Study South Africa." International Education Association of South Africa (IEASA), 2013. http://hdl.handle.net/10962/64878.
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[Editor's Letter]: Study South Africa has been the global mouthpiece of the International Education Association of South Africa (IEASA) and South African Higher Education since the publication of its first edition in 1999. It grew from a publication that served as a guide to South African Higher Education to a comprehensive source of information for the international academic community and others interested in South Africa’s tertiary education sector. This annual publication requires knowledgeable contributors as well as skilful editorial and other technical support. For the past number of years the editorial team was ably supported by Loveness Kaunda from the University of Cape Town (UCT). She provided the publication with her time, energy and knowledge. However, as she retired from her UCT position, she will no longer be available to consult with on a regular basis. This edition of Study South Africa is dedicated to her as a token of gratitude for all her time and passion. Another source of knowledge and inspiration is Patrick Fish - a higher education specialist who does research on topics relevant to the South African Higher Education landscape and provides us with up-to-date information. His writing skills turn the first number of pages of this publication into a real source of information. The knowledge about South African universities will be incomplete without the contributions of the universities themselves. A common trend this year is the focus on excellence of teaching and research as well as the relevance of South African Higher Education to local students functioning in an ever globalising world. It is also evident that most of the South African universities are aware of the need to be globally competitive, not only to attract the best international students, but also to be able to compete in a very competitive global knowledge driven environment. Study South Africa is again proudly presented by IEASA. This edition, focussing on Internationalisation of Higher Education, with a specific focus on South Africa in a changing world, again illustrates the interconnectedness of global higher education. It is envisaged that future editions will explore and document the collaboration between IEASA and similar organisations that is promoting the Internationalisation of Higher Education as well as global trends in international higher education affecting internationalisation of higher education in emerging countries.
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(IEASA), International Education Association of South Africa, and Nico Jooste. "Study South Africa." International Education Association of South Africa (IEASA), 2015. http://hdl.handle.net/10962/64911.
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[Editor's Letter]: This, the 15th edition of Study South Africa, continues to provide a platform for South African universities to profile themselves. It also provides highlights from the South African Higher Education system for the past year. This edition will focus on research and the internationalisation of research in the South African context. Study South Africa has established itself as the international mouthpiece for South African universities and without missing a beat has been produced by volunteers who, with enthusiasm, have dedicated their time and intellect to promote Higher Education Internationalisation as well as to promote South Africa as a knowledge destination for students, academics and professional staff. It is a special privilege and honour to write the introductory message for this 15th edition of Study South Africa as President of IEASA and Editor of the publication. In an era where global re-organisation is dominating the Higher Education scene and new alliances are formed to emulate the new geopolitical landscape, we need to take note of all the challenges facing Higher Education Internationalisation. A number of trends can be identified as major influences on Higher Education on a global scale. I will focus on some of those trends affecting Higher Education in emerging economies and the developing world. The first of these trends is the focus on regional and south-south cooperation. South African universities indicated their intent to further develop closer relationships with universities in Africa through their participation in the re-thinking of Africa’s future during the African Higher Education Summit on the Revitalisation of Higher Education for Africa’s future, in Dakar, Senegal during March 2015. The vision agreed upon during the summit is to ‘develop a high quality, massive, vibrant, diverse, differentiated, innovative, autonomous and socially responsible Higher Education sector. This sector will be a driving force to achieving the vision outlined in the Agenda 2063 by the African Union with a commitment to a shared strategic framework for the inclusive growth, sustainable development and global strategy to optimise the use of Africa’s resources for the benefit of all Africans’. The role of universities would be to develop closer cooperation as well as to advance research with a focus on innovation and sustainable economic growth that will integrate African economies as equal partners in the world economy. It is clear from the vision that although the emphasis should be on inter-African collaboration, collaboration with institutions outside the African continent should not be excluded to achieve the knowledge creation needed to achieve Agenda 2063. Another Higher Education Internationalisation trend in South Africa is the development of closer cooperation within the BRICS countries. The agreements reached and strategies agreed to during the BRICS Summit in Ufa, and included in the Ufa Declaration of 17 June 2015, open doors to future collaborations between BRICS universities. It is envisaged that in the next year the constituent meeting of the BRICS University Network and the establishment of the BRICS Universities League will provide the necessary framework for future collaboration amongst universities from the BRICS member countries. It is imperative that organisations like IEASA and the Brazilian FAUBAI play a key role in the establishment and function of the above mentioned networks. We can provide the necessary support and leadership to other member countries where Higher Education Internationalisation is still at the early stages of conceptualisation and organisation. It will be important to make effective use of the occasion of the Global Conference on Higher Education Internationalisation, scheduled to take place in South Africa in August 2016, to debate and set the future agenda for the BRICS University Network in relation to the rest of the world. It is also vital that the BRICS universities as well as the universities in Africa integrate fully with the rest of the world instead of developing a separate grouping.
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(IEASA), International Education Association of South Africa, and Andy Mason. "Study South Africa." International Education Association of South Africa (IEASA), 2002. http://hdl.handle.net/10962/65310.
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[Message from the Honorable Minister of Education, Prof. Kader Asmal]: Once again I am pleased to provide a message of support for the Guide to South African Universities and Technikons, particularly at a time when we are embarking on a new era with our plans for Higher Education in South Africa. Increasingly we have become aware of the need for higher education graduates who can make a significant contribution to the reconstruction and development of our country and, in this period of globalisation, the rest the world. With the dawn of a new century we need also to ensure that our system of higher education is relevant to the challenges we face in the years ahead. The onset of the 21st century has brought Minister of Education changes in the social, cultural and economic relations spawned by the revolution in information and communications technology. At the centre of these changes is the notion that in the 21st century, knowledge and the processing of information will be the key driving forces for wealth creation and social and economic development. Therefore we are driven by government policy that recognises the importance of human resource development. This involves the mobilisation of human talent and potential through lifelong learning, to contribute to the social, economic, cultural and intellectual life of a rapidly changing society. We need high-level skills training to provide the human resources to strengthen our region's enterprises, services and infrastructure. This requires the development of professionals and knowledge workers with globally equivalent skills, but who are socially responsible and conscious of their role in contributing to development efforts and social transformation. Finally we need to ensure the production, acquisition and application of new knowledge. This is essential for growth and competitiveness, and in turn is dependent on continuous technological improvement and innovation driven by a well-organised, vibrant research and development system which integrates the research and training capacity of higher education with the needs of industry and social reconstruction. Graduates from our higher education institutions have consistently shown that the quality of the education they receive is of a world class standard. Indeed, many developed countries try to lure our graduates away to work in their countries. Increasingly international students have recognised the value of our education system and are choosing to study in South Africa. We welcome them not only to our educational institutions but also to our beautiful country and the vibrant society that South Africa is today.
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(IEASA), International Education Association of South Africa, and Andy Mason. "Study South Africa." International Education Association of South Africa (IEASA), 2003. http://hdl.handle.net/10962/65321.
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[Message from the Honorable Minister of Education, Prof. Kader Asmal]: It gives me pleasure to be able to once again give message of support for the Guide to South African Universities and Technikons. Government policy has placed higher education at the centre of the Human Resource Development Strategy. In the last edition I indicated the need to ensure that our system of higher education is relevant, accessible, efficient and provides the basis for lifelong learning. To this end we are embarking on a major transformation and reconstruction process to improve the capacity of our higher education institutions to respond nor only to national demands but also to the demands placed upon us by a globalised economy. TI1e envisaged higher education landscape should be better aligned to respond to the challenges of the constantly changing demands. The realisation of the African Union and the proposals contained in the New Programme for Africa Development calls for greater understanding of the international imperatives that will inform greater economic, political and social cooperation. All of this requires that higher education institutions should step up the pace in forging academic cooperation and linkages as well as providing an enabling environment for international students to study in South Africa. It also requires higher education institutions to ensure that the quality of the programmes offered matches or exceeds international benchmarks so that they become first choice institutions for students wanting an international experience. The initiative that the International Education Association of South Africa (IEASA) has undertaken together with the South African Universities Vice-Chancellors Association and the Committee of Technikon Principals is beginning to show some results. There has been an increase in the number of international students who seek study opportunities in our institutions. This can only strengthen our system as we gain more insight into international perspectives through these students. I wish all those involved in this endeavour success.
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(IEASA), International Education Association of South Africa, and Roshen Kishun. "Study South Africa." International Education Association of South Africa (IEASA), 2005. http://hdl.handle.net/10962/65344.
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[Message from the President of IEASA, Dr Roshen Kishun]: We salute the thousands of South Africans From diverse racial backgrounds who 50 years ago put forward their vision, encapsulated in the Freedom Charter, to keep doors of education open. As we celebrate the 50th anniversary of this historic event we are aware of the Foundations laid then to allow us to reconnect to the world. In choosing “lessons in diversity' as the theme For the Sth edition of Study South Africa we support the need For South African higher education to keep its doors open in meeting the development challenges of Africa. The year 2005 has been described as critical For Africa because of a number of Factors that have come together. These include the New Partnership For Africa’s Development which spells out action plans to tackle some of the more intractable problems that Africa Faces, the Formation of the African Union with clear guidelines For governance and peace, and the Pan-African Parliament which promotes the concept of working together to solve the continent's problems. The launch of the Southern African Regional Universities Association in early 2005 by 45 of the region’s vice-chancellors recognised that the excellence and sustainability of university education, research and development will be a leading contributor to Future growth and poverty alleviation. Despite the tides of limited resources, external demands and internal policy challenges, the vice-chancellors were unequivocally committed to advancing the development agenda of higher education on the African continent. Critically, in recent years there has been acknowledgement of the ability of higher education to bring about economic and democratic reforms, as evidenced by the commitment and concerted efforts made by Foundations and funding agencies to support the improvement of higher education institutions in Africa. Most important from our perspective is the support for the ’’renewal’’ of higher education institutions as they are considered to be key vehicles For development on the continent. The Commission For Africa report, published in March 2005, endorses the Association of African Universities, Association of Commonwealth Universities and Higher Education South Africa’s joint 10-year partnership programme, Renewing the African University, The partnership programme calls, among other things, For constructive engagement between states and higher education institutions, increasing North-South and South-South collaboration, internationalisation of the curriculum and partnerships between universities and the corporate sector. The Commission makes clear its conviction that higher education's contribution to building professional skills and knowledge is key to achieving Fundamental development changes. The need for centres of excellence in science, technology and engineering is highlighted as key to Future development and growth. Higher education institutions need to be the “breeding ground For the skilled individuals whom the continent needs". The report stresses the need For urgent attention to be given to the management of natural resources, of Forests and water, improving sanitation and strengthening health systems to deal with pandemics such as malaria, tuberculosis and HIV-Aids. Other important developments needed are building the human and institutional capacity for good governance and strengthening leadership in public life, civil society and business. In Focusing on the theme “lessons in diversity’ the Guide captures the richness of the various “diversities ' in the South African higher education landscape. It describes the radical transformation of higher education in South Africa over more than a decade. It identifies South Africa's research system as being “by Far the biggest in Africa” and demonstrates the important role South African higher education can play in meeting the challenges of Africa. I hope that the information provided will allow those interested in South African education to make informed choices.
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(IEASA), International Education Association of South Africa, and Orla Quinlan. "Study South Africa." International Education Association of South Africa (IEASA), 2017. http://hdl.handle.net/10962/64853.
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[Editor's Letter]: Welcome to the seventeenth Study SA, compiled as IEASA celebrates its twentieth anniversary. Study SA is the South African publication that provides an overview of South African Higher Education issues and developments. This edition has a special Commemorative section, celebrating 20 years of IEASA, as well as the standard sections found in every issue of Study SA, consisting of Higher Education in Context, Features and Medical Aid and the updated profiles of the 26 public Higher Education Institutions. Universities South Africa, USAF, kindly provided partial funding for this edition of Study SA and we are delighted to include a message from the current CEO Dr Ahmed Bawa, a consistent supporter of internationalisation in Higher Education. We also have a message from the former Minister of Higher Education, Dr Blade Nzimande (2009-2017). A voluntary organisation supported by a small secretariat, IEASA is testament to a group of people who saw the need for an organisation to support the South African Higher Education’s re-entry and engagement with the rest of the world, once it became a democracy in 1994. This edition includes articles by two of the founding members: lEASA’s first President, Dr Roshun Kishun and its first Treasurer, Dr Derek Swemmer. Our sincere thanks to all the committed individuals in South African Higher education, who have kept IEASA going from strength to strength. Thilor Manikam, lEASA’s longest serving staffing member and the Office Manager has provided continuity and institutional memory over the best part of the twenty years. Guided by lEASA’s Constitution, Thilor has ensured that regardless of the change in the Management Council over the years, IEASA operations are impeccably managed and that IEASA has received an unqualified audit every year since its inception. In its history, IEASA has had seven Presidents: Dr Roshun Kishan, Ms Fazela Hanif, Mr David Ferrai, Ms Merle Hodges, Mr Lavern Samuels, Dr Nico Jooste and the current President Leolyn Jackson, whose term will run until the end of 2018, when the current President Elect, Ms Orla Quinlan will serve a two-year term from 2019-2020. IEASA has facilitated the development of a close knit community of practice in South Africa with members drawing on each other’s strengths and skills; inviting each other to our respective institutions to share knowledge, skills and ideas on appropriate internationalisation, within the South African context. More than that, we have become friends and have developed a collective responsibility to present and represent South African Higher Education to the rest of the world. Sadly, we lost three of our very dear colleagues and friends in recent years: Mr Len Mkhize, Mr Jimmy Ellis and Professor Stan Ridge. We pay tribute to the energy and joy they brought to IEASA in all their endeavours. They are missed. Others who have supported IEASA over the years include PWC, who have provided free audit services up to 2017, as a contribution to South Africa’s Higher Education; ABSA and the Medical Aid companies, who have provided sponsorship to IEASA. Finally, its volunteer Management Council, members of which serve two-year terms, with the possibility of being re-elected, and each one of our members who participate in and support IEASA activities and events. IEASA continued its work with the Department of Home Affairs (DHA) to clarify the visa application procedures, communicate the processes and to request interventions when visa processing is unduly delayed or if there are extenuating circumstances, which require intervention. IEASA and DHA have held one joint workshop with universities in 2016; a second was held following the IEASA 20th conference in August 2017 and an initial meeting called by USAF was held with DHA, HR Directors from universities and IEASA in late 2017. Visa Facilitation Services (VFS) have introduced a new mobile biometric service for campuses who do not have a VFS office in their locality. IEASA will continue to work on behalf of the international students and the rest of the international Higher Education community to improve the clarity of immigration requirements and to help overcome any difficulties faced. An article providing an update on progress is included in this edition. The international landscape has shifted enormously in recent years, where previously unquestioned democratic principles are being contested in some of the world’s most established democracies. lEASA’s 20th Anniversary Conference theme was “Advancing internationalisation: overcoming hostilities and building communities”. While in reflective and celebratory mode about the achievements of the last twenty years during the the Colloquium, the conference attendees switched mode and engaged in robust debates, about the current challenges in Higher Education including economic and financial challenges, xenophobia, the lack of equity in existing partnerships, institutional strategies, opportunities for engaging with partners interested in South African Higher Education. IEASA is cognisant of its responsibility to build capacity for the upcoming professionals in the sector and workshops on themes pertinent to the professionals in International Offices included immigration, partnerships and developing internationalisation strategy.
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(IEASA), International Education Association of South Africa, and Essche Alexandra Van. "Study South Africa." International Education Association of South Africa (IEASA), 2004. http://hdl.handle.net/10962/65333.
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[Message from the President of IEASA, Dr Roshen Kishun]: The fourth edition of Study South Africa; Guide to South African Tertiary Education coincides with a momentous event in the history of South Africa. It is the 10th anniversary of the democracy after the 1994 elections that ended apartheid. It is time to celebrate the achievements, the development strides, and the reintegration of South Africa into the world community. The International Education Association of South Africa (IEASA) welcomes the new Minister of Education, Ms Naledi Pandor, elected to the Cabinet after the April 2004 elections. We wish her well in her new and demanding portfolio. We are confident that the Minister will support the tertiary education sector to develop linkages between international education, skilled migration and the transition to knowledge economies. While we believe that a free and democratic country may be the most powerful attraction for international students wishing to study in South Africa there are other reasons. South Africa is rated as a technological powerhouse on the African continent. Comparatively South Africa’s educational infrastructure can be compared with the best in the world. Its research sector is by far the strongest in Africa. The country has adopted English as one of its official languages and it is the main medium of instruction in the tertiary education sector. A significant factor which makes South African qualifications attractive is the relatively lower cost of study. Study in South Africa offers the best of both worlds to international students, combining the experience of living in Africa with the opportunity to obtain quality education at a fraction of the cost. In the ten years since 1994, the opening-up of the tertiary education sector in South Africa is evidenced by the dramatic increase of international students studying in the South African public education sector from about 13 000 to more than 47 000 in 2002. While the headcount numbers include distance education students, it is possible that South Africa is currently the leading host country for international students in Africa. An IDP report predicts that by 2025 almost eight million students will be educated trans-nationally. The growth in international student numbers presents South Africa with some exciting challenges in the global context. South Africa is expected to become one of the top nations in the world hosting international students in the next ten yean. Study South Africa is published in the middle of one of the most intense periods of change when the South African education system is being restructured to eliminate duplications created under the apartheid system. The number of public institutions is being reduced from 36 to 23 through mergers and incorporations. The binary divide that existed in the public higher education system pre- 2002, where there were 21 universities and 15 technikons is blurred by the creation of the universities of technology. In spite of the massive transformation, the South African higher education sector has much to offer in the form of quality education, advanced research facilities and internationally recognized qualifications. The information provided in this Guide introduces the individual institutions, their academic offerings, support services provided and other relevant details needed to make a choice of study destination Study South Africa is also a useful tool in the development of a strategy to market South African higher education into the competitive world of international education. The decision by IEASA to develop a marketing strategy is not only a reaction to global higher education pressures, but is also an acknowledgement of South Africa’s return to the global higher education community and in identified geographical areas. IEASA realised that past isolation can only be overturned by conscious new strategies. This 'marketing initiative’ meant that the presence of South Africa was highly visible at some of the leading forums dealing with international education in the world. Study South Africa is undertaken by IEASA in association with the South African Vice-Chancellors Association (SAUVCA) and the Committee of Technikon Principals (CTP). These organizations themselves are set to merge in the near future. We appreciate the support of the Council on Higher Education (CHE), the South African Qualifications Authority (SAQA), Unitech (Higher Education professional body for marketing, communication and development), and Professor T Mthembu. We are most grarefril to Karen MacGregor, our specialist writer, who compiled the excellent articles in this publication on achievements during the ten years of transformation. I wish to take this opportunity of thanking all those who made contributions for their support and all the tertiary education institutions in the public education sector for their participation. We are grateful to the Department of Foreign Affairs for the distribution of the Guide abroad and to members of the IEASA publications committee for their input. We appreciate the support of Artworks Publishing for working under pressure to meet publications deadline. Special thanks are due to Zandile Wanda for the work in coordinating the response from the tertiary education sector and to Alexandra van Essche for compiling and producing the Guide. Without their efforts it would not have been possible to publish the Guide.
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Fourie, Lise. "Music Therapy in Tshwane, South Africa : music therapists’ experiences and other professionals’ perceptions." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36759.
Full textAbstract:
In South Africa music therapy as a profession is still in its infancy and not yet firmly
established, hence music therapists have struggled in the past to secure full-time
employment. It is important to ascertain the current state of music therapy in Tshwane as this
will offer suggestions about what needs to be addressed in the future. In this project two research questions were explored:
1. What are the experiences of music therapists, as well as the perceptions of other
professionals working in the health and education sectors in Tshwane, regarding
music therapy as a profession?
2. What do these experiences and perceptions suggest about the current state of the
music therapy profession in Tshwane?
This research project used questionnaires to generate data pertaining to the experiences of
music therapists and perceptions of allied professionals about the music therapy profession
in Tshwane. The experiences of music therapists currently practising in Tshwane shed light
on the present situation of music therapy in Tshwane. The allied professionals’ perceptions
of music therapy had implications regarding the recognition of the profession which impacts
directly on the availability of jobs, funding and resources available to music therapists.
Questionnaires generated both quantitative and qualitative data through the use of closed
questions that were analysed using descriptive statistics that were generalised and openended
questions analysed through the process of coding and categorising for emerging
themes that were discussed. Results obtained from the questionnaires indicated that not
enough is being done to promote the field as music therapist respondents (n=4) do not
create or set up new music therapy employment. This accounts for the fact that at present
other professionals working in the health and education sectors (n=27) have a varied
understanding of what music therapy comprises. Because of this varied understanding music
therapy is not always valued by these professionals. Collaboration with allied professionals
was an important theme which recurred throughout the data and seems to have been the
most successful way of furthering the profession so far in Tshwane. By promoting music
therapy, especially through collaboration with others, awareness of music therapy should be
enhanced, others’ knowledge and understanding of music therapy may be expanded and
music therapy may ultimately find its valued place among other therapeutic interventions.Mini Dissertation (MMus)--University of Pretoria, 2009.
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De, Jongh Martha Susanna. "A national electronic database of special music collections in South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2370.
Full textAbstract:
Thesis (MMus (Music))--University of Stellenbosch, 2009.In the absence of a state-sponsored South African archive that focuses on collecting, ordering, cataloguing and preserving special music collections for research, the Documentation Centre for Music (DOMUS) was established in 2005 as a research project at the University of Stellenbosch. Music research in South Africa is often impeded by inaccessibility of materials, staff shortages at archives and libraries, financial constraints and time-consuming ordering and cataloguing processes. Additionally there is, locally, restricted knowledge of the existence, location and status of relevant primary sources. Accessibility clearly depends on knowing of the existence of materials, as well as the extent to which collections have been ordered and catalogued. An overview of repositories such as the Nasionale Afrikaanse Letterkundige Museum and Navorsingsentrum (NALN), the now defunct National Documentation Centre for Music and the International Library of African Music (ILAM) paints a troubling picture of archival neglect and disintegration. Apart from ILAM, which has a very specific collecting and research focus, this trend was one that ostensibly started in the 1980s and is still continuing. It could be ascribed to a lack of planning and forward thinking under the previous political dispensation, aggravated by policies of transformation and restructuring in the current one. Existing sources supporting research on primary materials are dated and not discipline-specific. Thus this study aims to address issues of inaccessibility of primary music materials by creating a comprehensive and ongoing national electronic database of special music collections in South Africa. It is hoped that this will help to alert researchers to the existence and status of special music collections housed at various levels of South African academic and civil society.
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Nkabinde, Thulasizwe. "Indigenous features inherent in African popular music of South Africa." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.
Full textAbstract:
A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997.The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
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Muller, Stephanus Jacobus van Zyl. "Sounding margins : musical representations of white South Africa." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326962.
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Latshwayo, Simphiwe Abner. "Education and independance : education in South Africa, 1658-1988 /." Westport (Conn.) : Greenwood press, 2000. http://catalogue.bnf.fr/ark:/12148/cb388081273.
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Theron, Talita. "Music therapy in South Africa music therapists' perceptions of training needs for current practice /." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.
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Grove, Stefan Henry. "Suid-Afrikaanse musiek vir tjello en orkes." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17370.
Full textAbstract:
Thesis (M.Mus.)-- University of Stellenbosch, 2006.ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004). The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically “cellistic” attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer. Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry’s own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece. Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred “classicist” style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English “pseudo-modality” and pentatonicism, with elements of 20th century entertainment music. The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static. Both Peter Klatzow's "pointillist” The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a “programmatic” evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias).
AFRIKAANSE OPSOMMING: Hierdie studie lewer ‘n bydrae tot die literatuur oor Suid-Afrikaanse tjello-concerto’s. Daaronder word werke verstaan wat hier te lande ontstaan het, deur komponiste wat oor ’n beduidende tydperk heen sigbaar betrokke is of was by die bevordering van musiek in Suid-Afrika. Dit blyk dat daar tussen die jare 1893 en 2004 sowat 56 Suid-Afrikaanse komponiste ’n (voorlopige) totaal van 95 werke in verskillende genres vir die medium geskryf het, waarvan vyf konsertmatige werke in aanmerking gekom het vir dié studie. Hulle is dié van Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) en Allan Stephenson (2004). Die navorsingsmetode behels fasette soos agtergrondgegewens, historiese perspektiewe en volledige tegniese bekrywings van elke werk, terwyl ook kommentaar gelewer word oor die artistieke en spesifiek “tjellistiese” ingesteldheid van elk. In dié proses is tot die slotsom gekom dat die tydperk van ontstaan (1942-2004) in ’n ruim mate gereflekteer word in die styl van die gekose werke, en dat elk ’n heel bepaalde perspektief toelaat ten opsigte van die komponis se persoonlike stylbenadering. Richard Cherry se Concertino is weliswaar nie noemenswaardig in terme van tjellistiek nie, maar getuig nietemin van ’n deurleefde musikaliteit en musikale vakmanskap. Cherry se eie instrument, die fagot, en sy bevoorkeurde genre, nl. ballet- en bykomstige musiek skyn ook ’n rol te gespeel het in die wording van dié werkie. Allan Stephenson se Concerto – die enigste meerdelige werk – is in bepaalde opsigte selfs meer argaïes as dié van Cherry: Sy bevoorkeurde “klassisistiese” styl maak ruim voorsiening vir ’n tjellistiese benadering wat herinner aan dié van klassieke meesters soos Boccherini en Haydn, terwyl sy harmoniese styl die Engelse “pseudo-modaliteit” en pentatoniek beklemtoon, en ook 20ste-eeuse vermaaklikheidselemente nie afwesig is nie. Outodidak Bernard Langley verteenwoordig met sy somber-liriese Concerto ’n spesiale – en sonderlinge – bydrae tot die genre. Die werk is stilisties ’n hulde aan die Engelse liriek van bv. Delius. Deur die skynbare gebrek aan genoegsame vindingrykheid in sowel tematiek as orkestrasie-vaardighede kom die werk voor as moeisaam en staties. Beide Peter Klatzow se “pointillistiese” The Temptation of St. Anthony, after Hieronymus Bosch, en Roelof Temmingh se Concerto kan geld as die mees verdienstelike Suid-Afrikaanse werke tot op hede. Waar Klatzow se werk stilisties tekens dra van die Europese avant-garde van die na-oorlogse tyd, en dus behoort tot die komponis se vroeë middeljare, is Temmingh s’n dié van die ryper en ervare kunstenaar, verteenwoordigend van die komponis se latere, meer gehoorsvriendelike benadering. Wat die werke verder van mekaar onderskei is die aard van die artistieke stempel: In Klatzow se werk gaan dit primêr om die artistieke skeppingsuitdaging van melodie vs. klankeffek, eerder as om ’n “programmatiese” uitbeelding van die skildery. Die tjello-idioom is verrassend-veelsydig en ekspressief; dit is veral die tjello se veeleisende hoogste register wat gepas aandoen. Vir Temmingh, daarenteen, is tjellistiese effekte duidelik ’n bysaak, met die klem op sterk liriese, by tye ook sombere en humorvolle momente. Die oktotoniese grondslag maak selfs by geleentheid voorsiening vir tonale allures, en die struktuur van die werk is oorspronklik in die vindingryke gebruik van motiwiese kiemselle wat mettertyd ontvou as temas (waaronder twee passacaglias).
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Thusi, Nhlanhla Brian. "Jazz education for post-apartheid South Africa." Thesis, 2001. http://hdl.handle.net/10413/5190.
Full textAbstract:
This essay has two primary purposes: (1) to make a case for jazz education and (2) to suggest ways in which jazz education can more prominently and profitably feature in post-Apartheid South African education. Justifying jazz education and determining how it can best fit into South African education both require a clear conception of what jazz education is in its various forms. Thus, the essay begins by attempting a holistic definition of jazz education as education in, about, and through
jazz followed by a systematic consideration of the many and varied educational outcomes jazz education is capable of achieving. Thereafter, an overview is presented of jazz education as it presently exists in South Africa. Employing criteria derived from the essay's discussions, South African jazz education is evaluated and suggestions are made for how it can be further developed.Thesis (M.Mus.)-University of Natal, Durban, 2001.