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Journal articles on the topic 'Music in education – South Africa'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Oehrle, Elizabeth. "Education Through Music: Towards A South African Approach." British Journal of Music Education 10, no. 3 (November 1993): 255–61. http://dx.doi.org/10.1017/s0265051700001790.

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Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.

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Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.

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MURPHY, REGINA, and MARTIN FAUTLEY. "Music Education in Africa." British Journal of Music Education 32, no. 3 (November 2015): 243–45. http://dx.doi.org/10.1017/s0265051715000388.

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Coming from Botswana, South Africa, Zimbabwe, Ghana and Kenya, the papers in this Special Issue on Music Education in Africa cannot portray a definitive story of music education in all 54 sovereign states in the Continent, but as a first step towards understanding what matters in this region of the world, the range of topics in this issue provides us with a focal point for dialogue.

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Walling, Catherine Bennett. "Intercultural exchanges in South Africa: Exploring music teacher experiences, understandings, and practices." International Journal of Music Education 38, no. 2 (October 2, 2019): 252–66. http://dx.doi.org/10.1177/0255761419877574.

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The purpose of this study was to examine the experiences of four US music educators during and after a 3-week adult choir camp in South Africa. Findings reveal that the camp positively influenced music teacher understandings and practices, both during and after the exchange. Throughout the camp, participants navigated race, privilege and prejudice and expressed value for a vast array of shared experiences with choir mates, teachers, and homestays. Participants reflected regularly on processes of learning new musics, describing growth through authentic and at times challenging activities. Furthermore, all participants recognized that firsthand experiences were essential to deep learning. During the camp, all participants expressed hopes of bringing new ideas and music home; 2 months after returning to their classrooms, 3 of the 4 participants reported the teaching of South African songs along with modified pedagogical approaches. Ultimately, participants shared that the trip had impacted them in various personal ways, noting increased tolerance, patience, kindness, confidence and hope.

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Herbst, Anri, Jacques de Wet, and Susan Rijsdijk. "A Survey of Music Education in the Primary Schools of South Africa's Cape Peninsula." Journal of Research in Music Education 53, no. 3 (October 2005): 260–83. http://dx.doi.org/10.1177/002242940505300307.

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We investigated the state of music education in government primary schools in the Cape Peninsula (Western Cape Province, South Africa) as perceived by the general class teacher. Since the first democratic elections in South Africa (1994), the entire primary and secondary school education system has changed drastically in terms of content, and general class teachers (not music specialist teachers) are now responsible for music education within the Arts and Culture learning area. We aimed to identify and analyze problems that these teachers experience in implementing the music component of the revised curriculum. A structured questionnaire was sent to all primary schools in the Cape Peninsula; the response rate was 51.7%. Findings are discussed and interpreted against the historical background of education in South Africa and relevant music philosophical perspectives. January 27, 2005 September 12, 2005

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Campbell, Patricia Shehan. "How Musical We Are: John Blacking on Music, Education, and Cultural Understanding." Journal of Research in Music Education 48, no. 4 (December 2000): 336–59. http://dx.doi.org/10.2307/3345368.

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The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork and teaching of music as a social and cultural force, and finally to his teaching and scholarly contributions as an academic powerhouse and articulate advocate for the education of children in and through music in the United Kingdom, the United States, and internationally. An examination follows to gauge the extent of John Blacking's fieldwork and theoretical views relevant to music, education, and culture, with particular attention to Blackings approach to the study of children as a distinctive musical culture and the nature of their musicality, the central role of physical movement and dance as integrated within the musical experience, and the development of world musics in educational programs.

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Torp, Claudius. "Missionary Education and Musical Communities in Sub-Saharan Colonial Africa." Itinerario 41, no. 2 (July 31, 2017): 235–51. http://dx.doi.org/10.1017/s0165115317000353.

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This article explores the effects of music education carried out by Protestant missionaries on local forms of sociability in sub-Saharan Africa during the late nineteenth and early twentieth centuries. Based on a methodological framework of ideal types of musical communities, the examination focuses on examples of musical encounters between missionaries and the Yoruba in West Africa, the Lobedu in South Africa, and the Nyakyusa in East Africa. A closer look at the kinds of sociability facilitated by missionary music will reveal a colonial dialectic emerging from the contrasting forces of cultural hierarchy and belonging.

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Bartolome, Sarah J. "“We sing to touch hearts”: Choral musical culture in Pretoria East, South Africa." Research Studies in Music Education 40, no. 2 (May 8, 2018): 265–85. http://dx.doi.org/10.1177/1321103x18768101.

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The purpose of this study was to explore the culture of choral singing among children and youth in Pretoria East, South Africa. The philosophical underpinnings of the choirs, the roles of choirs within local and national communities, and the perceived values and benefits of participation were examined. This collective case study required the integration of standard ethnographic strategies employed over the course of a month-long period of fieldwork and two shorter follow-up visits. I observed approximately 40 hours of rehearsal and 25 hours of performance, focusing on five choirs in and around the University of Pretoria. I also conducted 22 semi-structured interviews with choristers, directors, staff members, and parents. Participants identified a philosophy of “message bearing” as the primary goal of choral performance. Innovation and diversity in programming and competition were additional emergent themes related to this philosophy. Choirs were found to have multiple roles, including recruiting and marketing, promoting diverse South African musical cultures, and cultivating a national, South African identity. Participants described a wide range of musical, social, educational, and personal benefits associated with participation, with choristers most commonly alluding to choir as a means of “relaxing.” Choir emerged as a source of bridging social capital, encouraging cooperation among participants from diverse racial and cultural backgrounds, promoting intercultural understanding and trust, and cultivating a broadened sense of national South African identity.

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Ogunyemi, F. Taiwo, and Elizabeth Henning. "From traditional learning to modern education: Understanding the value of play in Africa’s childhood development." South African Journal of Education 40, Supplement 2 (December 31, 2020): S1—S11. http://dx.doi.org/10.15700/saje.v40ns2a1768.

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Rhymes, poetry, stories, wrestling, music and dancing were essential cultural elements through which childhood play was promoted in traditional Africa. “Modernisation” brought about by colonialism led to distortion and decline in the use of traditional play for childhood education in many parts of Africa. This work assessed the value of play in Africa’s childhood education, using documentary analysis and a survey of views from South African and Nigerian childhood educators. The documentary analysis involved a review of existing research to give an overview of traditional play in Africa, while survey data generated from 62 respondents in South Africa (SA) and Nigeria (Nig) were used to illustrate the findings of the review. Traditional African play, when properly deployed, could enhance children’s physical, mental, social and emotional development. This study identified 5 major obstacles to the integration of traditional and modern forms of children’s play. It therefore calls for concerted efforts by policymakers, educators and parents to address the challenges associated with the identified obstacles within a trado-modern paradigm.

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Oehrle, Elizabeth. "The Economic Accountability of Music Education." British Journal of Music Education 4, no. 3 (November 1987): 223–27. http://dx.doi.org/10.1017/s0265051700006057.

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Music education struggles to survive in countries such as England, United States and South Africa because of the lack of financial support, particularly during economic recessions. To counter this unfortunate situation, well-written books and articles have been appeared over the years, propounding the truth that the arts do have an essential place in the balanced education of children, but these well-founded and constructed arguments continually fall on deaf ears. During economic recessions government planners and educational authorities rationalise that they can afford to do away with the arts because these subjects make little or no difference to the economic welfare of the country.Information from the best-seller by Peters & Waterman, In Search of Excellence, reveals that the principle characteristics of the managers of excellent companies in the United States are characteristics that concern the creative process of thinking, creative aspects of personality, creative products and environmental conditions. These companies have a positive effect on the United States economy. As the aspect of education which is best equipped to nurture these characteristics is the arts, then it is reasonable to argue that we can not afford to ‘phase out’ music education.Because education in the United States, England and South Africa is closely linked to the economy, music educators in capitalist countries should begin to argue for the arts from an economic standpoint, as capitalistic societies are orientated primarily toward capital gain. Failing this, we shall have to argue for more fundamental changes in political and economic systems.

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Spencer, Piers. "ISME Conference Pretoria, South Africa 19–26 July 1998." British Journal of Music Education 15, no. 3 (November 1998): 235–38. http://dx.doi.org/10.1017/s0265051700003910.

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Roos, Pieter. "The Current State of Music in South West Africa/Namibia: An Overview." International Journal of Music Education os-7, no. 1 (May 1986): 32–39. http://dx.doi.org/10.1177/025576148600700108.

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Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition." European Journal of Education 2, no. 1 (April 30, 2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.

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This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest that emerges is: What are the modes of transmission for indigenous Bapedi music during the teaching and learning process? The primary source for data collection was oral interviews and observations. Secondary sources include theses, books and Journal articles. Performances were recorded in the form of audio-visual recordings and photographs. The results have shown that in Bapedi society, learning music through participation has been a constant practice. The transmission process involves participation, fostering of communal sense, concentration on the present moment and the use of musico-cultural formulae and cues for interactional purposes. It was concluded that in Bapedi society, creative music making and music identity are the obverse sides of the same coin, in that the former provides an arena in which the latter can be explored.

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Klopper, Christopher. "The impact of educators' skills and training on the delivery of music in the learning area Arts and Culture within two districts of the Gauteng province of South Africa." British Journal of Music Education 25, no. 1 (March 2008): 57–75. http://dx.doi.org/10.1017/s0265051707007723.

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This article is the documentation of a sub-research question of a larger empirical study that employed quantitative methods to identify variables that are impacting on the delivery of music in the learning area Arts and Culture in South Africa extrapolated from questionnaires. Analysis of the data revealed that educators lack specialisation in music and have limited training in any of the art forms. Significant relationships were established between the educator and involvement in music activities within and outside of the school environment.

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van Vuuren, Eurika Jansen, and Caroline van Niekerk. "Music in the Life Skills classroom." British Journal of Music Education 32, no. 3 (November 2015): 273–89. http://dx.doi.org/10.1017/s0265051715000340.

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Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject advisors, often have had no music training. The twofold purpose of this study was to determine the extent of challenges experienced in the music component of Life Skills and Creative Arts in South Africa and how this can best be dealt with. In the current study, mixed methods research was conducted to ascertain the problems experienced with music tuition in Life Skills and Creative Arts classrooms. It was found that generalist educators have to teach music, whether they have the requisite skills or not. The subject has low status and is frequently used as a filler subject for teachers. Lack of music knowledge, scarce resources, limited support and ever-changing educators are some reasons for the absence of quality music tuition. Mentoring by competent subject advisors and senior educators and the re-alignment of school and university curricula will assist music in enjoying its rightful place in the school curriculum.

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Walker, Gavin Robert. "Music Research in a South African Higher Education Institution." Action, Criticism, and Theory for Music Education 18, no. 3 (September 2019): 144–71. http://dx.doi.org/10.22176/act18.3.144.

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Botha, Madaleen, and Clorinda Panebianco. "The role of parents in the perfectionistic tendencies of university music students." International Journal of Music Education 36, no. 2 (August 17, 2017): 217–29. http://dx.doi.org/10.1177/0255761417714607.

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Perfectionism is a complex multidimensional state with positive and negative outcomes. Research has identified that parents could influence perfectionistic inclinations, which may lead to increased levels of anxiety and ultimately lead to maladaptive tendencies. The aim of the study is to explore the role of parents in the experience of perfectionism in South African university music students. A total of 93 BA (Music) and BMus music students from four South African university music departments participated in the quantitative study by completing the Frost Multidimensional Perfectionism Scale (FMPS). The data were analyzed according to the variables of academic institution, type of music degree, academic year of study, gender, home language, and main instrument. The results showed significant differences in BA (Music) students who scored significantly higher than the BMus students in the dimensions Parental Expectations and Parental Criticism, along with students from the African language group. The study provides valuable insight into the perfectionistic trends of South African undergraduate music students, with particular emphasis on the parental dimensions of perfectionism.

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Woodward, Sheila C. "Nation Building—One Child at a Time: Early Childhood Music Education in South Africa." Arts Education Policy Review 109, no. 2 (November 2007): 33–42. http://dx.doi.org/10.3200/aepr.109.2.33-42.

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de Villiers, Alethea. "The transformation of music education: A South African case study." British Journal of Music Education 32, no. 3 (November 2015): 315–22. http://dx.doi.org/10.1017/s0265051715000376.

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In this paper I reflect on transformation in South African education policy, post-1994. The new curriculum for schools was underpinned by the democratic values of the constitution and was a time of renewal for music education. However, over time as the original curriculum documents were revised, the focus of promoting indigenous traditions was abandoned and replaced by an overtly Western approach to music education. It is against this background that I also reflect on the transformation that occurred as a result of a continuing professional development programme that arose from a need to improve curriculum implementation in the arts.

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Watson, Angus. "Why Are You So Nervous? The Anatomy of Stage-Fright by Alan Solomon. Wits, South Africa: Taliesin Editions. No publication date supplied, 85 pp. £12.50 (including p & p), available from Taliesin Editions, PO Box 468, Wits 2052, South Africa." British Journal of Music Education 13, no. 02 (July 1996): 171. http://dx.doi.org/10.1017/s0265051700003156.

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Durrant, Colin. "Cultural exchanges: contrasts and perceptions of young musicians." British Journal of Music Education 20, no. 1 (March 2003): 73–82. http://dx.doi.org/10.1017/s0265051702005223.

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This article focuses on young musicians' perceptions of their musical and cultural experiences while on a tour of South Africa during the summer of 2000. The young musicians were asked to keep journals throughout the tour in order to be able to recall their reactions and feelings about their various experiences. The comments, particularly the written ones from the young musicians, vividly display the impact of such experiences on their musical and emotional life. While conclusions are incomplete, some implications for the nature of cultural exchange and understanding and music education in general are put forward.

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Barrett, Michael, Roy Page-Shipp, Caroline van Niekerk, and Johan Ferreira. "Learning music theory en passant: a study in an internationally recognised South African University student choir." British Journal of Music Education 37, no. 2 (July 12, 2019): 155–68. http://dx.doi.org/10.1017/s0265051719000238.

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AbstractWhile mastery of aspects of music theory is relevant to rapid learning and understanding of a new choral part, many choirs comprise members with no formal education in music theory. Also, the language of music theory is not intuitive, with many terms having meanings different from those in common use, which can present obstacles for mature learners. The authors hypothesised that students joining an internationally recognised university choir might master aspects of music theory as a by-product of rehearsals. This was tested by having new admissions to such a choir complete a music theory test at the commencement and at the end of a year. The test evaluated the ability to name and write intervals and name notes and the duration of notes. Overall results did not reject the hypothesis. Subjects with no formal music training also showed most, and statistically significant, improvement in the questions related to intervals, which are arguably the most useful skills for choristers who do not sight-read. This appears to be a new finding: the literature shows occasional references to music theory skills, but their acquisition in a learning-by-doing style is not reported. Some insights into ways of enhancing choral performance are a by-product of the principal focus of the study.

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Delport, Aletta, and Erna Cloete. "Music education in the Grade R classroom: How three teachers learned in a participatory action inquiry." South African Journal of Childhood Education 5, no. 1 (September 4, 2015): 21. http://dx.doi.org/10.4102/sajce.v5i1.351.

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The contribution of music education to the holistic development of the young learner is uncontested. However, in South Africa, the vast majority of Reception Year (Grade R) teachers do not have the required competences to teach music in ways that optimally enhance the holistic growth of their learners, as this aspect has been largely neglected during their pre-service and in-service training. In this paper, we report on a year-long intervention aimed at enabling three Grade R non-music specialist teachers at one urban township school in the Eastern Cape to create music-based learning opportunities for their learners. We employed a participatory action learning and action research (PALAR) approach to the inquiry, which combines research with development. Our findings indicate that after a series of collaborative interactions, the participants started to explore and tap into their own musical competences. They revisited notions of the self as (ill-)equipped, (un)confident, (in)competent and (in)dependent music teachers, and began to assume autonomy and agency with regard to effective music education in the Grade R classroom. We consequently argue that under-qualified in-service teachers can be enabled to improve their practice through research interventions that stimulate maximum participant involvement, such as PALAR.

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Gibson, Dylan Lawrence. "The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 97–108. http://dx.doi.org/10.1386/jepc_00003_1.

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The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.

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Friedman, Sharon. "Mind the gap: reflections on the current provision of dance education in South Africa, with specific reference to the Western Cape." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 39–54. http://dx.doi.org/10.2989/18121000609486708.

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Joseph, Dawn. "Teachers Reactions to Outcomes-Based Music Education in South African Primary Schools." Research Studies in Music Education 18, no. 1 (June 2002): 66–77. http://dx.doi.org/10.1177/1321103x020180010801.

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Swart, Inette. "Benefits of music education to previously disadvantaged South African learners: Perspectives of music teachers in the greater Tshwane Metropolis." International Journal of Music Education 38, no. 1 (October 3, 2019): 52–65. http://dx.doi.org/10.1177/0255761419868151.

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This article focuses on the role of access to music education as an agent of social change and as an important way of empowering previously disadvantaged learners, putting this forward as an argument against the proposed downscaling of music in schools as advocated by the government. This narrative inquiry shed light on the perceptions of participating teachers associated with various music programs in the same larger geographical area on the benefits of music education to learners, including instilling discipline and a sense of purpose, general academic improvement, opportunities for social connection, creating opportunities for income generation and future employment, providing role models for children who often came from broken families, and safety and keeping children off the streets, to name but a few. Innovations necessitated by resource allocation constraints are perceived by participating teachers to include sharing a limited number of instruments, teaching in groups, converting general facilities into teaching venues and finding creative ways of teaching theory. The sustainability of these programs is perceived by participating teachers to depend on feeder programs, former students qualifying as teachers, and support and donations from one or more outside sources. It is argued that it is necessary to heed the voices of previously disadvantaged people who are now benefiting from improved access to opportunities and to listen to their opinions about the advantages of music education.

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Joseph, Dawn, and Caroline van Niekerk. "Music Education and minority groups cultural and musical identities in the ‘newer’ South Africa: white Afrikaners and Indians." Intercultural Education 18, no. 5 (December 2007): 487–99. http://dx.doi.org/10.1080/14675980701685354.

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Veblen, Kari K., Nathan B. Kruse, Stephen J. Messenger, and Meredith Letain. "Children’s clapping games on the virtual playground." International Journal of Music Education 36, no. 4 (May 14, 2018): 547–59. http://dx.doi.org/10.1177/0255761418772865.

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This study considers children’s informal musicking and online music teaching, learning, playing, and invention through an analysis of children’s clapping games on YouTube. We examined a body of 184 games from 103 separate YouTube postings drawn from North America, Central and South America, Europe, Africa, Asia, Australia, and New Zealand. Selected videos were analyzed according to video characteristics, participant attributes, purpose, and teaching and learning aspects. The results of this investigation indicated that pairs of little girls aged 3 to 12 constituted a majority of the participants in these videos, with other participant subcategories including mixed gender, teen, adult, and intergenerational examples. Seventy-one percent of the videos depicted playing episodes, and 40% were intended for pedagogical purposes; however, several categories overlapped. As of June 1, 2016, nearly 50 million individuals had viewed these YouTube postings.

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Marjoribanks, Kevin, and Mzobanzi Mboya. "Learning Environments, Goal Orientations, and Interest in Music." Journal of Research in Music Education 52, no. 2 (July 2004): 155–66. http://dx.doi.org/10.2307/3345437.

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This study is an examination of relationships among family background, family and school learning environments, goal orientations, and students' interest in music. Data were collected from 18-year-old black South African students, 340 women and 285 men, whose main language was Isi Xhosa. Findings indicated that when family background was defined conjointly by family social status and parents' aspirations, (a) family background, gender, family and school learning environments, and goal orientations combined to have medium associations with students' interest in music, (b) relationships among learning environments, goal orientations, and students' interest in music varied for students with different family backgrounds, and (c) the learning environment and goal-orientation variables partially accounted for the relationships between family background, gender, and students' interest in music.

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Van Vreden, Mignon. "Maestro for a moment: A conceptual framework for music integration in Grade R." South African Journal of Childhood Education 6, no. 1 (June 21, 2016): 10. http://dx.doi.org/10.4102/sajce.v6i1.373.

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<p>In South Africa, possibilities to utilise music to contribute to the holistic development of preschool learners are under continuous investigation. However, music education in the Grade R classroom is limited due to insufficient time in the daily programme and a lack of sufficient musical training amongst generalist educators. The urgent need to equip these educators with the necessary competencies is critical. Therefore, in this article the practicability of integrating music into the daily programme in Grade R is explored by means of a conceptual framework. This conceptual framework was generated from the literature review and data analysis, describing six aspects of integrating music into Grade R teaching and learning: <em>about</em> music, <em>from</em> music, on music, with music,<em> in</em> music and <em>through</em> music. Within this framework, every aspect of integration is connected with music activities in accordance with the Grade R learning principles of play, exploration and practical experiences. In this article, the author argues that music can be successfully integrated into the Grade R daily programme by music specialists as well as generalist teachers with no or minimal musical training.</p>

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Harrop-Allin, Susan. "Multimodality and the Multiliteracies Pedagogy." Journal of Research in Music Education 65, no. 1 (February 1, 2017): 25–51. http://dx.doi.org/10.1177/0022429417694874.

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Drawing on a study of children’s musical games in urban South Africa, this article employs two theoretical frames: that of multimodality and the multiliteracies pedagogy. These are applied to a contextual analysis of the forms of musicality that musical games embody and to ways of incorporating children’s play into pedagogy. Based on ethnographic research in primary schools in Soweto, I first examine representative examples of musical games in order to demonstrate children’s musicianship in relation to the concept of multimodality. Analysis reveals the games’ sophistication in terms of children’s deployment of multiple modes and the inventiveness their methods imply. Furthermore, a multimodal theoretical frame and analytical approach enables an understanding of musicality as the capacity to “design.” Second, children’s multimodal musicality prompts questions about how such musicality may become a resource in formal learning. I propose that applying the multiliteracies pedagogy to music education offers a methodological solution for “recruiting” musical games so that the capacities children demonstrate in their games may be developed.

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Harrop-Allin, Susan. "Higher education student learning beyond the classroom: findings from a community music service learning project in rural South Africa." Music Education Research 19, no. 3 (August 17, 2016): 231–51. http://dx.doi.org/10.1080/14613808.2016.1214695.

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Emberly, Andrea, and Jane Davidson. "From the kraal to the classroom: Shifting musical arts practices from the community to the school with special reference to learning tshigombela in Limpopo, South Africa." International Journal of Music Education 29, no. 3 (August 2011): 265–81. http://dx.doi.org/10.1177/0255761411408503.

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Müller, Ivan, Christian Schindler, Larissa Adams, Katharina Endes, Stefanie Gall, Markus Gerber, Nan Htun, et al. "Effect of a Multidimensional Physical Activity Intervention on Body Mass Index, Skinfolds and Fitness in South African Children: Results from a Cluster-Randomised Controlled Trial." International Journal of Environmental Research and Public Health 16, no. 2 (January 15, 2019): 232. http://dx.doi.org/10.3390/ijerph16020232.

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Obesity-related conditions impose a considerable and growing burden on low- and middle-income countries, including South Africa. We aimed to assess the effect of twice a 10-week multidimensional, school-based physical activity intervention on children’s health in Port Elizabeth, South Africa. A cluster-randomised controlled trial was implemented from February 2015 to May 2016 in grade 4 classes in eight disadvantaged primary schools. Interventions consisted of physical education lessons, moving-to-music classes, in-class activity breaks and school infrastructure enhancement to promote physical activity. Primary outcomes included cardiorespiratory fitness, body mass index (BMI) and skinfold thickness. Explanatory variables were socioeconomic status, self-reported physical activity, stunting, anaemia and parasite infections. Complete data were available from 746 children. A significantly lower increase in the mean BMI Z-score (estimate of difference in mean change: −0.17; 95% confidence interval (CI): −0.24 to −0.09; p < 0.001) and reduced increase in the mean skinfold thickness (difference in mean change: −1.06; 95% CI: −1.83 to −0.29; p = 0.007) was observed in intervention schools. No significant group difference occurred in the mean change of cardiorespiratory fitness (p > 0.05). These findings show that a multidimensional, school-based physical activity intervention can reduce the increase in specific cardiovascular risk factors. However, a longer and more intensive intervention might be necessary to improve cardiorespiratory fitness.

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Neethling, Kobus. "South Africa: Gifted Education in South Africa." G/C/T 8, no. 4 (July 1985): 7. http://dx.doi.org/10.1177/107621758500800402.

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Levy, Norman. "South Africa." Academe 85, no. 4 (1999): 34. http://dx.doi.org/10.2307/40251400.

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Daniels, Douglas Henry, and Charles Hamm. "Afro-American Music, South Africa, and Apartheid." American Music 8, no. 1 (1990): 120. http://dx.doi.org/10.2307/3051941.

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DjeDje, Jacqueline Cogdell, Charles Hamm, and Christopher Small. "Afro-American Music, South Africa, and Apartheid." Black Perspective in Music 18, no. 1/2 (1990): 228. http://dx.doi.org/10.2307/1214893.

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Erlmann, Veit. "Recordings of Traditional Music in South Africa." Yearbook for Traditional Music 20 (1988): 247. http://dx.doi.org/10.2307/768190.

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Vaughan Williams, C. H. "The music makers: Harmonisation in South Africa." BMJ 315, no. 7099 (July 5, 1997): i. http://dx.doi.org/10.1136/bmj.315.7099.0i.

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Coplan, David B. "Aids, politics, and music in South Africa." Anthropology Southern Africa 39, no. 4 (November 30, 2016): 325–27. http://dx.doi.org/10.1080/23323256.2016.1233820.

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Stolp, Mareli. "New Music for New South Africans: The New Music Indabas in South Africa, 2000–02." Journal of the Royal Musical Association 143, no. 1 (2018): 211–32. http://dx.doi.org/10.1080/02690403.2018.1434354.

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ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions for South African art-music production and practice.

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Schulz, E. "Sun education in South Africa." Clinics in Dermatology 16, no. 4 (July 8, 1998): 532–33. http://dx.doi.org/10.1016/s0738-081x(98)00033-9.

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Skuy, Mervyn, and Hazel Partington. "Special Education in South Africa." International Journal of Disability, Development and Education 37, no. 2 (January 1990): 149–57. http://dx.doi.org/10.1080/0156655900370207.

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Cloete, J. H. "EE education in South Africa." IEEE Potentials 9, no. 4 (December 1990): 43–44. http://dx.doi.org/10.1109/45.65870.

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Enslin, Penny, and Shirley Pendlebury. "Transforming Education in South Africa?" Cambridge Journal of Education 28, no. 3 (November 1998): 261–67. http://dx.doi.org/10.1080/0305764980280301.

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Aziz, Ahmed. "Urdu Education in South Africa." Language Matters 27, no. 1 (January 1996): 244–52. http://dx.doi.org/10.1080/10228199608566112.

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Magongwa, Lucas. "Deaf Education in South Africa." American Annals of the Deaf 155, no. 4 (2010): 493–96. http://dx.doi.org/10.1353/aad.2010.0042.

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Fairall, A. P., and P. A. Whitelock. "Astronomy education in South Africa." Astrophysics and Space Science 230, no. 1-2 (August 1995): 495–501. http://dx.doi.org/10.1007/bf00658205.

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