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1
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.
Testo completoAbstract (sommario):
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.
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2
Nkabinde, Thulasizwe. "Indigenous features inherent in African popular music of South Africa". Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.
Testo completoAbstract (sommario):
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.
3
McConnachie, Boudina. "Indigenous and traditional musics in the school classroom : a re-evaluation of the South African Indigenous African Music (IAM) curriculum". Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/6806.
Testo completoAbstract (sommario):
Musical ideals set by European standards and values, entrenched through colonial oppression and promoted by the continued veneration of Western culture need to be re-evaluated. Despite the intention of the ANC government, through the Department of Basic Education's Curriculum and Assessment Policy Statement music curricula, to integrate Indigenous Knowledge and musics into the South African classroom, evidence shows that opportunities to do so are not seized. With reference to the proclaimed values of an African sensibility in the model of the South African music education curriculum, the history of its development and the current pedagogical movement towards transformation in the production of knowledge and the inclusion of Indigenous Knowledge (IK), this thesis questions why teachers in government schools in South Africa are not executing the Indigenous African Music (IAM) syllabus in the CAPS FET music curriculum. Taking the history of music education and the development of curriculum models and frameworks into account, it interrogates what strategies could improve the application of the current music curriculum in government schools in South Africa. These questions are addressed in the thesis by way of a discussion of the music curriculum and what its praxis in the classroom reveals about its efficacy, through observations and personal experiences, the observations of teachers and student teachers, a comparison with the experience in Zimbabwe, and an analysis of the music curriculum as it is currently devised and implemented. Straddling three methodological approaches, namely the ethnographic, the autoethnographic and the action research approach this study finds that the CAPS FET music curriculum does provide realistic opportunities to engage with African Indigenous and traditional music. This, however, is dependent upon the training of the teacher, facilities available in the classroom and the prior knowledge of the learner. A fundamental flaw of this curriculum is the approach to practical assessment of Indigenous and traditional African musics and the lack of assessment criteria and practical guidelines. In addition, the findings suggest that the fault regarding implementation of the curriculum lies in the training of students (who become teachers) at tertiary level, where an integrated approach to skills development regarding Indigenous African music is suggested.
4
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/.
Testo completoAbstract (sommario):
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.
5
Kwami, Robert Mawuena. "African music, education and the school curriculum". Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1989. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296838.
Testo completo
6
Davhula, Mudzunga Junniah. "Malombo Musical Art in VhaVenda Indigenous Healing Practices". Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.
Testo completoAbstract (sommario):
The traditional healing practices of the Vhavenda people include one very important
component, the malombo ritual healing practice.
This healing practice has been conducted for centuries. It involves the use of music
(including singing and the use of drums and shakers for rhythm), dance and elements
of theatre performed by the person to be healed, the healer, invited malombe
(community members who have been through the same ritual), as well as family
members and supporters.
The importance of this ritual as a healing process has long been acknowledged. Of
interest in this study, however, is the role-played by the music itself in facilitating the
healing process. The ritual cannot take place without the music; neither is the music
used outside this specific ritual.
Seven representative malombo songs have been partially notated by John Blacking
and N. J. van Warmelo also as recorded texts. However, since this ritual is closed and
seldom open to strangers, their research was, of necessity, limited. Through long-term
fieldwork, and from an insider perspective, this thesis is based on participation in
more than fifteen malombo rituals during the field research period (2005-2014).
Songs and performances were recorded as possible and some are included on the
accompanying CD. In addition, transcription was utilized as a tool to demonstrate the
core melody of selected songs, with the acknowledgement that transcription in
Western notation limits the demonstration of the creative mato1 process that is
fundamental to the malombo ritual.
This thesis argues that that music plays a vital role in this healing ceremony, and it is
through the mato process that the ancestors are called to heal. The texts of the songs at
times include words of the Tshikalanga language that is spoken by the Vhakalanga of
Zimbabwe. Most significantly, music is seen as the bridge between the ancestral
spirits and the patient and participants in the ceremony, thus underscoring its
fundamental importance in Vhavenda culture.Thesis (DMus)--University of Pretoria, 2017.
SAMRO
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7
Diop, Ousmane. "Decolonizing Education in Post-Independence Sub-Saharan Africa: The Case of Ghana". Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1385073171.
Testo completo
8
Kyakuwa, Julius. "Exploring African musical arts as community outreach at the University of Pretoria". Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60374.
Testo completo
9
Bergseth, Heather A. "Music of Ghana and Tanzania: A Brief Comparison and Description of Various African Music Schools". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1312917493.
Testo completo
10
Nota, Charles. "Introducing marimba music as part of the school curriculum in Zimbabwe". Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65458.
Testo completoAbstract (sommario):
This thesis is the documentation of an investigation to explore the applicability and use of indigenous African instruments in the development of primary school music curriculum for Zimbabwe. Although music is regarded as one of the compulsory subjects of the Zimbabwean primary school curriculum, it is noted with concern that western musical arts ideas are prominent in the school syllabus hence, they underline the whole essence of music teaching in the post-independence Zimbabwean education system. This is done at the expense of indigenous African musical arts practices that learners can easily identify with in their respective local communities. The purpose of my study therefore, is to determine critical elements of a curriculum development framework for facilitating the inclusion of indigenous African instrumental performance practices as substantive music resource stuff in the westernised Zimbabwean primary school music curriculum provisions. Zimbabwe has a variety of indigenous African instruments that include mbira, mazambi, magagada, chipendani and chigufe. For the purpose of carrying out this research, three indigenous African instruments are identified as instruments of focus. These are marimba (African xylophone), ngoma (African drum) and hosho (African percussion shakers). Thus, the term indigenous African instruments is consistently used collectively to mean the identified instruments. The study also samples songs from a selected Ndau cultural arts functions such as zvipunha and zvimworoni that could be utilised as education activities for classroom music teaching and learning initiatives in Zimbabwe. The idea of including culture-inclined resource materials for music teaching in the westernised post-independence Zimbabwean primary school music education initiatives implies curriculum change and innovation. Thus, curriculum change in Zimbabwe could be viewed as a reputable way to fulfil complete socio-cultural, educational and political sovereignty towards diluting the impact of colonial repression and neo-colonialism in Zimbabwe. It is notable, however that, colonial repression in Africa has caused and is still causing a permanent dislocation between indigenous black Africans and their cultural arts practices and heritages. My study doesn’t aim to achieve piece-meal changes in the primary school curriculum. Neither does it aim to suggest a complete overhaul of the current westernised primary school music curriculum. With this study, I aim to achieve a reasonable inclusivity and fusion of divergent cultural arts opinions towards musical hybridism in the Zimbabwean musical arts education milieu. This, I believe, shall help to establish an alliance of traditional African and western arts elements to attract both domestic and international appreciation of contemporary musical arts education initiatives in the post-independence Zimbabwean society. Relevant information has been gathered through documentary analysis, interviews, participant observation and focussed discussions. The findings reveal that the majority of primary school teachers and learners need considerable cultural arts rehabilitation because colonial repression had conditioned their perceptions to see no sensible value in indigenous African instrumental performance practices as part of the school education curriculum. The study also reveals that even the training of primary school music educators in Zimbabwe is grossly inadequate. Hence, the majority of these primary school teachers are pedagogically restricted to facilitate the teaching of skills-based subjects like music at any level of the Zimbabwean education system. Therefore, it is sensible to conclude that generalist primary school teachers are unreliable education practitioners who need further education and training in order to acquire relevant competences to teach music effectively in schools. Finally, lack of human and physical resources such as music instruments and textbooks has also been viewed as another impediment factor crippling teacher performance in the teaching of music in the majority of primary schools in Zimbabwe.Thesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
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11
Rabatoko, Matheanoga Fana. "San indigenous songs as cultural heritage for inclusion in Botswana music education programmes". Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65599.
Testo completoAbstract (sommario):
Botswana is a heterogeneous society and therefore the elements of dualism as well as cultural pluralism should be reflected in social institutions such as schools. The Naro of D’Kar are among the few minority ethnic San groups in Botswana still practicing their indigenous songs. While the government is positively continuing to implement the recommendations of the 1994 Revised National Policy on Education, this study explored Naro music, songs and dances to find possible ways in which these intangible elements of cultural heritage could be included in the music education curriculum. A qualitative ethnomusicological approach was applied in order to provide a systematic and scientific description of the contextual and cultural aspects of Naro music practices. Participants were purposively selected as indigenous culture bearers, including both adults and children. Focus groups as well as semi-structured individual interviews contributed to rich data gathering. Moreover, an extended period of field work allowed opportunities to observe various groups of Naro participating in music, song and dance activities, leading to an in-depth perspective of the research problem. All interviews and observations were audio- or video-recorded. An interpretative data analysis strategy was employed to identify themes. Findings reveal the rich cultural heritage of the Naro of D’Kar and how this is entrenched in their indigenous songs and dances. The purpose of Naro songs are closely linked to spiritual and physical healing rituals. Data analysis unveiled four broad categories in which Naro songs and dances may be classified namely songs for worship; songs for initiation; songs for social commentary; and lastly a broad category of songs for thanksgiving, recreation, hunting and children’s playsongs. The documenting, transcribing and audio/video-recording of Naro songs as performed in their original context and setting, add valuable resources which music teachers can use to facilitate inclusion of Naro music in the Botswana curriculum. This may lead to a paradigm shift in policy development whereby principles of Multicultural Music Education (MME) are embraced. Learners are envisaged to acquire knowledge and understanding of a broader society as well as an appreciation of their own cultural heritage including language, traditions, songs, ceremonies, customs, social norms and a sense of citizenship.Dissertation (MMus)--University of Pretoria, 2017.
Music
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12
Floyd, Malcolm. "Music in enculturation and education : a Maasai case study". Thesis, Birmingham City University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322731.
Testo completo
13
Wiggins, Trevor. "Issues for music and education in West Africa". Thesis, University of Plymouth, 1999. http://hdl.handle.net/10026.1/2802.
Testo completoAbstract (sommario):
My published output represents an ongoing engagement with the issues of studying, learning, understanding and transmitting music. More specifically, it has the music of Ghana in West Africa as its primary focus. This music is then considered from a number of points of view:- • as music, where the sonic events can be charted, documented and analysed • as 'ethnic' music where the function and meaning of this music for its culture can be considered • as a cultural artefact where the changing processes of transmission and preservation are observed • as pedagogical material where the nature of learning related to culture and the processes of translation by the teacher and the learner are examined. Music as object for documentation and discussion is a substantial part of Xylophone music from Ghana, the two articles in Composing the Music of Africa and the article in the British journal of Ethnomusicology as well as the COs, 'Bewaare - they are coming' Dagaare songs and dances from Nandom, Ghana and 'In the time of my fourth great-grandfather ... ' Western Sisaala music from Lambussie, Ghana. These same publications also consider the roles and function of the music within its culture. Music as a cultural artefact, its transmission and preservation, particularly in relation to formal education, is the focus of the two articles in the British journal of Music Education, the Music Teacher publication, the article in Cahiers de Musiques Traditionelles, and the ESEM conference paper. Pedagogical issues and materials form the basis for Music of West Africa, Kpatsa, and the symposium papers.
14
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.
Testo completoAbstract (sommario):
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.
15
Akuno, Emily Achieng. "The use of indigenous Kenyan children's songs for the development of a primary school music curriculum for Kenya". Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.363106.
Testo completo
16
Patterson, DeAnna Rose. "A History of Three African-American Women Who Made Important Contributions to Music Education Between 1903 and 1960". Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182182858.
Testo completo
17
Whitesides, Vance J. "The Large Ensemble/European Classical Music Paradigm and African American-Originated Dance-Musicking| A Dispositival Analysis of U.S. Secondary Music Education". Thesis, The George Washington University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10258865.
Testo completoAbstract (sommario):
This study examined the historical and contemporary debate among music educators in U.S. public secondary schools over the viability of the large ensemble paradigm—choirs, bands, orchestras—and its valorization of European classical music, versus the introduction of popular music and its attendant mode of informal learning in small groups. Using theoretical and historical concepts from the work of Michel Foucault, this study established the concern for social order in the Progressive Era, the simultaneous interest in elite European culture as a regulatory device, and the emergence of the comprehensive high school as the framework in which the large ensemble paradigm was constituted. It contrasted this paradigm with the contemporaneous proliferation of African American-originated dance-musicking, which derived its popularity, in part, as a participatory form of musicking, and which destabilized dominant constructions of class, race and gender/sexuality through its practices—above all, its integration with dancing. This genealogy of the oppositional relationship between the two types of musicking provided the foundation for a critical analysis of music education discourse, based on key 20th-century texts produced by the National Association for Music Education that defined the large ensemble paradigm and articulated its rationale. This analysis revealed that many of the beliefs, assumptions, and practices of music education as defined in the US in the first half of 20th century still constrained the debate over the use of popular music in secondary schools in the 21st century by inhibiting a full appreciation of the kinesthetics of African American-originated dance-musicking.
18
Daun, Holger. "Childhood learning and adult life : the functions of indigenous, islamic and western education in an African contest /". Stockholm : University of Stockholm, Institute of international education, 1992. http://catalogue.bnf.fr/ark:/12148/cb35835815h.
Testo completo
19
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.
Testo completoAbstract (sommario):
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.
20
Banda, Dennis. "Education for All (EFA) and 'African Indigenous Knowledge Systems (AIKS)' : the case of the Chewa People of Zambia". Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10525/.
Testo completoAbstract (sommario):
This research is an investigation of whether 'African Indigenous Knowledge Systems (AIKS)' can enhance the achievement of Education for All (EFA) with particular reference to the Chewa people of Zambia. The study raises challenges that many countries have experienced in their effort to achieve EFA. Among the Chewa people of Zambia, quality, relevance and credibility of the education are some of the reasons affecting the provision of education to all. This research has argued that formal schooling education, in its current form may not be the right vehicle to deliver EFA goals. The research has proposed alternative forms of knowledge that could be hybridized with the formal schooling education to address some of the challenges identified. The research has tried to re-appropriate some Chewa AIKS to theorize curriculum and pedagogy reforms that could enhance the achievement of the EFA goals. I have used qualitative research methodology in the study. The respondents in this study were drawn from two areas of community of practice i.e. the Chewa traditional chiefs and elders as perceived custodians of the Chewa AIKS and the educationists, as implementers of education programs and policy and curriculum designers. Key issues identified by this research include the following: that a replacement of the formal schooling education by the AIKS is not an answer to the current challenges facing the provision of meaningful education to all; that through consultations, and co-ordination by all stakeholders and research in AIKS and formal schooling education, either system would shed off elements perceived as barriers to EFA; and be hybridized to complement each other to enhance the achievement of EFA goals; that the formal schooling education should not be considered to be superior to informal and non-formal education systems, but that all are critical components in this quest. Theories and frameworks of hybridization of forms of knowledge/education have been considered in this research. I have argued that hybridizing AIKS with the formal schooling system will only become significant if an economic value is added to the AIKS through some mechanisms put in place. The practical skills embedded in AIKS could foster career building, entrepreneurship and apprenticeship if linked to the money economy of employment and wealth creation. I have argued that there may be need to establish opportunities for AIKS holders to be accredited within the National Qualification Framework and policy framework on AIKS be enacted to regulate and protect IK, and guide the hybridization process. The study highlights three main frameworks on the hybridization of the AIKS and the formal schooling curriculum: (1) Mainstreaming/ Incorporation/ Integration/ infusion of the AIKS into the formal school curriculum. (2) Establishing IK as a core subject with a structure similar to those of other core subjects in the curriculum. (3) Teaching AIKS as a component of the seven official Zambian languages that are taught in schools.
21
Sonbert, Nicole Michelle. "EVALUATING APPROPRIATE REPERTOIRE FOR DEVELOPING SINGERS: AN AFRICAN-AMERICAN ART SONG ANTHOLOGY". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/104.
Testo completoAbstract (sommario):
Finding appropriate and unique repertoire for the developing singer is a daunting task and ongoing challenge in the teaching profession. There are limited resources to help guide teachers in selecting varied, yet suitable repertoire that falls outside of the standard Western European musical canon. The early years, ages 17–21, are crucial to establishing a healthy and well-rounded vocal approach to singing, while also introducing the student to a wide variety of music. African-American art song is a great option for developing singers. Repertoire should allow a student to grow musically, vocally, and artistically according to the singer’s specific stage of learning and interests. Selecting repertoire through established criteria that considers the student’s personal and cultural interests (in addition to pedagogical needs) allows for a good foundation to support a healthy vocal development.
Consideration of numerous elements, such as historical, musical, physical, emotional, and vocal characteristics offers a framework for a comprehensive approach in the selection process. In Literature for Teaching: A Guide for Choosing Solo Vocal Repertoire from a Developmental Perspective, Christopher Arneson provides a wonderful base for further study, and application into repertoire selection. Through the utilization of Arneson’s suggestions, I have created a rubric that quantifies key criteria important to the evaluation of repertoire. Through this rubric, a clear evaluation and assigned difficulty level is provided for each song in the collection.
This compilation of songs is only the beginning to a proposed anthology entitled: African-American Art Song for the Developing Singer. Each song offers a historical and pedagogical summary that includes the following: composer and poet biographies, text and translations, basic form, original key and other keys available, performance notes, range, tessitura, suggested voice type, tempo suggestions, difficulty level, and other available editions. This unique anthology of African-American art song offers teachers with a resource that evaluates appropriate repertoire for developing singers, between the ages of 17–21, that is clearly accessible.
22
Germiquet, Nicole Madeleine. "Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020836.
Testo completoAbstract (sommario):
The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
23
Clinton, Zerric. "What adolescent African American male adolescents say about music videos with implications for art education". Tallahassee, Florida : Florida State University, 2010. http://etd.lib.fsu.edu/theses/available/etd-05032010-184907.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Florida State University, 2010.Advisor: Tom Anderson, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art Education. Title and description from dissertation home page viewed on July 26, 2010. Document formatted into pages; contains vii, 247 pages. Includes bibliographical references.
24
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.
Testo completoAbstract (sommario):
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)
Unrestricted
25
Goecke, Norman Michael. "What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1395668797.
Testo completo
26
Hamuse, Tiberia Ndanyakukwa Iilonga. "The survival of Cuanhama San communities in Angola". Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/11202.
Testo completoAbstract (sommario):
This study investigated the survival strategies adopted by the San in Cunene Province in Southern Angola. The study intended first to gain understanding of the economic activities that the San in Cuanhama municipality districts of Kafima Centre and Etale La Mulovi employ to sustain their livelihoods. Secondly, the study explored how accessible the basic social services of education and health were to the San in these communities. Utilising qualitative research methods, face-to-face interviews and focus group research were conducted. From the data collected on education the study findings show that none of the children from both communities were enrolled at any school. To this end, at Kafima Centre the main hindering factors that contributed inter alia included hunger at school, stigmatization by the neighbouring community and poverty among San communities. At Etale La Mulavi San community there was lack of educational facilities near the San habitations, constituting a key hindering factor to accessing education. On health, the closer the public health centre was to the San community the more the San utilised the health services for treatment and management of common diseases like Malaria and cough as well as other diseases. On survival strategies both San communities “okunhanga” ‘go.. and look for..’ (fending for food) was the primary survival strategy the San were involved in for the sustenance of their livelihoods. The findings informed the recommendations in chapter five of this study.
27
Isaac-Johnson, Dianna. "Creating culturally relevant techonological operas in an urban school". Diss., St. Louis, Mo. : University of Missouri--St. Louis, 2007. http://etd.umsl.edu/r1841.
Testo completo
28
Sawula, Sabelo. "Incorporating indigenous African languages in higher education: Student attitudes towards learning materials in isiXhosa at the University of the Western Cape". The University of the Western Cape, 2017. http://hdl.handle.net/11394/5809.
Testo completoAbstract (sommario):
Magister Artium - MAThere have been extensive studies conducted on the language attitudes of students or their parents at primary, secondary as well as tertiary levels of education in South Africa. Many scholars have found that African language speakers hold negative attitudes towards their own languages (De Klerk, 2000; Barkhuizen, 2002; Dyers, 1999; and Conduah, 2003). This is rather unfortunate, given the several constitutional and other policy provisions in South Africa promoting multilingual education (see Constitution, 1996; Language-in-education policy, 1997; Higher education language policy, 2002; UWC language policy, 2003). These negative attitudes have been attributed to a number of factors by scholars (see Kamwangamalu, 2000; Somhlahlo, 2009; Alexander 2004).
29
Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.
Testo completo
30
Dumpson, Donald. "FOUR SCHOLARS' ENGAGEMENT OF WORKS BY CLASSICAL COMPOSERS OF AFRICAN DESCENT: A COLLECTIVE CASE STUDY". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/261236.
Testo completoAbstract (sommario):
Music EducationPh.D.
The purpose of this research was to investigate ways classical composers of African descent have been included in the mainstream academic canon. I examined the insights of four scholars who have been committed to including classical composers of African descent throughout their music careers. The initial research questions of this study were: 1) How do participants describe their frameworks for making the commitment to include classical composers of African descent throughout their careers? 2) What have been the challenges and benefits associated with their commitment? 3) What might contemporary scholars view as strategies for integrating classical composers of African descent into the mainstream academic canon? Four musicians, who have contributed to the scholarship related to classical works by composers of African descent in very different ways, participated in this qualitative collective case study: Dr. Ysaye Maria Barnwell, a composer and performer; Dr. Dominique-Rene de Lerma, musicologist; Dr. Anthony Thomas Leach, educator, conductor, and organist; and Mr. Hannibal Lokumbe, composer, trumpeter, and visionary. Through two in-depth interviews with each of the four scholars, a related question emerged: How have the participants contributed to the inclusion of classical composers of African descent throughout professional careers and personal lives? I transcribed the interviews, returned them to the participants for member checks, and prepared final, revised transcripts based on their feedback for analysis. I examined the interview data to obtain a collective representation related to the research questions. I analyzed the data for emerging codes, categories, and themes until details considered substantive to the research emerged. Themes that emerged focused on the need to identify the importance of seeing the contributions for classical composers of African descent from an Afrocentric as well as a Eurocentric perspective; the impact of the Civil Rights Movement on how each participant engaged the music throughout their lives; the importance of informal and formal education and the roles family, community, and school played in their relationship with the music they shared; and, the significance of creating access to their works through publications and professional associations.
Temple University--Theses
31
Sigudla, Malefeu Maria. "An investigation into the language preferences of prospective teachers who specialise in English and an African language". Thesis, University of Limpopo, 2016. http://hdl.handle.net/10386/1708.
Testo completoAbstract (sommario):
Thesis (M. Ed. (Language Education)) -- University of Limpopo, 2016Several studies have investigated the contentious issue of language preference in the education domain, particularly in South Africa. African indigenous languages seemed to be overlooked as well in the country. As one of the scarce skills subjects, the Department of Education (DoE) developed a strategy to curb the decline of African indigenous languages by introducing Funza Lushaka Bursary Scheme. This research study sought to investigate language preferences of student teachers who specialise in English and an African language (Sepedi, TshiVenda and Xitsonga) for future employment among third and fourth year language student teachers. My assumption was that these language teachers have been in the teaching practice, hence their preference might be instigated by their experience in teaching. A purposive sampling using semi-structured interviews was selected for this study. Furthermore, a research journal and a voice recorder were used during the research interviews. The research findings illustrated that majority of participants (70%) preferred to teach African indigenous languages while the remaining percentages preferred to teach English at their future schools. These showed a promising future for the indigenous languages for being promoted and sustained. However, their preference of a particular language over the other was founded on different individual motivation or interest. It was also found that Funza Lushaka Bursary Scheme served as a motivational component for producing student language teachers. These findings provide valuable information for promoting and sustaining African indigenous languages
32
Ogechi, Nathan Oyori. "Publishing in Kiswahili and indigenous languages for enhanced adult literacy in Kenya". Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91659.
Testo completoAbstract (sommario):
This paper argues a case for the preparation of reading materials in Kiswahili and other African languages in order to enhance adult education in Kenya. Adult education clientele are defined as those aged over 15 who (a) were either never enrolled in primary schools or dropped out before completing and (b) `graduated` and currently participate in community extension services. Cognisance of mothertongues as the best languages to begin basic literacy is taken. However, since the literacy so acquired should be useful to the individual at both local and national levels, one needs Kiswahili for wider communication. Therefore, reading materials, especially for post literacy and adult literacy teacher training should be in Kiswahili. This will not only guard against relapsing to illiteracy and misinformation but will also alleviate the scarcity of reading materials in the face of hard economic times in Kenya.
33
Lacy, Lucile Christine. "A survey and evaluation of music teacher education program in selected, accredited black private colleges and universities in the United States /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu148726191911278.
Testo completo
34
Wafula, Robert J. "Male ritual circumcision among the Bukusu of Western Kenya : an indigenous African system of epistemology and how it impacts Western forms of schooling in Bungoma District /". View abstract, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220621.
Testo completo
35
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.
Testo completoAbstract (sommario):
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.
36
Curtis, Marvin Vernell. ""The People Could Fly": An original musical composition to enhance the learning environment of African-American school students and provide an additional resource for elementary multicultural education". Scholarly Commons, 1990. https://scholarlycommons.pacific.edu/uop_etds/2813.
Testo completoAbstract (sommario):
The public school learning environment is based on the learning styles of white middle class children. When African-American students enter this environment, they become frustrated because aspects of their culture, which affect how they learn, are excluded. This frustration may be responsible for the high drop-out rates among black students. The research suggests that incorporating African-American cultural attitudes, values, and behaviors in curriculum will help these students achieve. Because folklore and music are important parts of the African-American culture, an arts-based education program using these art forms would aid in teaching African-American students. In addition, involvement of all students in African-American folklore and music furthers the goals of multiethnic education. For this study, a musical was developed for elementary education. It incorporated an African-American folktale, "The People Could Fly", and elements of African-American music. A curriculum guide was developed containing information for the teacher on African-American culture and how it affects learning. A narrative was included for the teacher to read to the students about African-American life and culture, in particular, folklore and music. The guide contains activities for the students and additional resources for the teacher in the areas of African-American music, folklore and multicultural education. The guide was reviewed by twenty-two people from educational fields, revised and subsequently reviewed by four of the same reviewers and two new ones. The musical was performed for elementary school students, videotaped, and critiqued by the teacher involved. All comments were positive about the scope and the need for this kind of project. The researcher recommends that further study be done regarding learning styles of ethnic groups, that more musicals following the premise of this dissertation be created, and that evaluation of their effectiveness be initiated with specific African-American and general populations.
37
Kalinde, Bibian. "Cultural play songs in early childhood education in Zambia : in and outside of classroom practice". Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/60369.
Testo completoAbstract (sommario):
Cultural play songs are a world wide phenomenon in which children participate. The
current research explored settings where such cultural play songs occur; both in and
outside of pre-schools. Despite the availability of play songs in most cultural
contexts, combined with children's natural inclination to be actively involved in
playing and singing games, these cultural assets are generally not considered as a
pedagogical tool in Early Childhood Education (ECE). Therefore, the aim of this
research was to investigate the pedagogical significance of cultural play songs found
in and outside of pre-schools for ECE.
In this study, I investigated how play songs take place in both settings in order to
reveal commonalities and differences so that, when taken together, this knowledge
would enhance the understanding of how educators could optimally use play songs
in ECE contexts. An ethnographic research design was conducted within a
qualitative paradigm, incorporating non-participant observation, complete participant
observation, video recordings, and face-to-face interviews. For the first part of data
collection within pre-school settings, participants included thirty teachers from twenty
pre-schools in seven provinces of Zambia. During the second part of data collection
in a simulated out of school setting, participants included eighteen pre-school
children and an expert on cultural play songs. This resource person facilitated
sixteen cultural play song sessions in which the children and I actively participated.
Video recordings were made of all cultural play song activities in both settings,
supporting non-participant as well as complete participant observasions.
This empirical data provided evidence regarding the pedagogical value of play songs
as a cultural resource. As a result, play songs were collected in order to be
preserved and promoted for future use in ECE, thus defying the simplistic view that
they are mere entertainment. By drawing on Vygotsky's socio-cultural learning theory
and African traditional education perspectives as theoretical framework, the study
equally makes a scholary contribution towards play songs as a valuable indigenous
tool for teaching and learning in ECE. The results of the study indicate the following concerning cultural play songs: Firstly,
there is limited to non use of these songs in Zambian pre-schools compared to
English rhymes and Sunday school songs; secondly, they are not currently
considered as valid resources for teaching and learning; and thirdly, their use in ECE
depends on the teacher's knowledge, skills and perceptions, as well as on the
attitudes of school administration and parents. Recommendations are made for
flexible methodologies which nurture linkages between music practice in and outside
of school settings. Play songs as cultural resources support teacher and learner
interactions in musically and playfully stimulated environments.Thesis (DMus)--University of Pretoria, 2016.
Music
DMus
Unrestricted
38
Smit, Ineke. "Rekenaargesteunde musiekonderrig op hoërskool- en voorgraadse vlak met besondere verwysing na die gebruik van 'n multimediadatabasis van Xhosa musiekterme". Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53571.
Testo completoAbstract (sommario):
Thesis (MMus) -- University of Stellenbosch, 2003.ENGLISH ABSTRACT: In the modern Western world, secondary and tertiary learners generally have ready access to the use of computers, multimedia and the Internet. As a means to strengthen traditional education, computer-based methods and materials are increasingly being used in the education system and are also strongly recommended by many educational experts. The use of such electronic educational means has however resulted in various changes to the education system. Music educators, too, are subject to these changes. The aim of this study is to determine the extent to which computer-based education can contribute to the strengthening of traditional music education of the Western world. To this end, it is necessary to ascertain, in practice, the value of using computer-based material for the purpose of music education. A multimedia database of Xhosa music terminology was created in the Music Department of Stellenbosch University, with high school learners and undergraduate students as target group. In this thesis, the value of this database, as an example of computer-based material for music education, is assessed. It is intended to extend the database at a later stage through the addition of music terminology from other indigenous music cultures. In its current form, the database thus forms part of a larger whole and is not viewed as a completed enterprise. On the basis of the literature that was studied for the investigation, it is determined whether the multimedia database for Xhosa music terminology measures up to the criteria for effective computer-based programmes. Suggestions are also made for improving the database to ensure a more useful and user-friendly product.
AFRIKAANSE OPSOMMING: In die moderne Westerse wêreld het sekondêre en tersiêre leerders tans redelik algemeen toegang tot die gebruik van rekenaars, multimedia en die Internet. Rekenaargesteunde metodes en materiaal word toenemend ter versterking van die tradisionele onderwysstelsel aangewend, en ook deur talle opvoedkundiges aanbeveel. Die gebruik van dergelike elektroniese onderrigmiddele het egter verskeie veranderings in die onderwysstelsel teweeggebring. Ook musiekopvoeders word deur hierdie veranderings geraak. Die doelstelling van hierdie navorsing is om te bepaal tot watter mate rekenaargesteunde musiekonderrig 'n bydrae kan lewer tot die versterking van tradisionele Westerse musiekonderrig. Om hierdie doelstelling te bereik, is dit noodsaaklik om in die praktyk te bepaal watter waarde rekenaargesteunde onderrigmateriaal het vir die doeleindes van musiekonderrig. 'n Multimediadatabasis van Xhosa musiekterme is in die departement Musiek aan die Universiteit Stellenbosch geskep, met hoërskoolleerders en voorgraadse studente as teikengroep. In hierdie tesis word die waarde van hierdie databasis, as 'n voorbeeld van rekenaargesteunde onderrigmateriaal vir musiekonderrig, geëvalueer. Daar word beoog om die databasis op 'n later stadium verder uit te brei deur ook musiekterme uit ander inheemse musiekkulture by te voeg. Die databasis in sy huidige vorm maak dus deel uit van 'n groter geheel en word nie as 'n afgehandelde databasis beskou nie. Op grond van literatuur wat vir die doel van die ondersoek bestudeer is, word bepaal of die multimediadatabasis van Xhosa musiekterme voldoen aan die kriteria vir doeltreffende rekenaargesteunde onderrigprogramme. Daar word ook voorstelle gemaak oor hoe die databasis verbeter sou kon word om 'n meer bruikbare, gebruikersvriendelike produk te verseker.
39
Sellers, Crystal Yvonne. ""I Sing Because I‘m Free": Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249920108.
Testo completo
40
Pingue, Kahmaria. "Dancing Into Ubuntu: Inquiring Into Pre-Service Teachers' Experiences of Kpanlogo, A West African Dance". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38089.
Testo completoAbstract (sommario):
This thesis questions what it was like for pre-service teachers registered in a Bachelor of Education program to experience Kpanlogo, a West African dance from Ghana. Over a period of two years, the primary researcher introduced this dance to her peers first as a pre-service teacher, and then as a graduate student in a variety of ways: 1) practicing it for a performance at a community building talent show on campus, 2) learning it through a professional development workshop, and 3) teaching it to intermediate students at a local school, on two different occasions. Five pre-service teachers responded to an invitation to participate in a phenomenological study about their experiences. The two research questions which guided the interviews were: 1) What was it like to experience Kpanlogo, a West African dance, as a pre-service teacher? 2) What was it like as a pre-service teacher to teach students Kpanlogo? The conceptual framework of Sankofa Cyclical Waves, situated in a collectivist African Worldview orients us to the philosophy of Ubuntu, which posits that humanness is found and cultivated within community. Sankofa, a Ghanaian proverb which encourages its people to go back, physically or spiritually, to retrieve what was once lost or forgotten was used as a particular path to analyze the lived experiences of the pre-service teachers. In this thesis the Sankofa Cyclical Waves provided a structure to identify their various levels of understanding Ubuntu. Experiences analyzed as being novice in nature were awkward at the start, then as the dancer moves towards the end of the continuum, towards Ubuntu, the dancer moves through a series of waves as they become more familiar with rhythms, movements, African dance attire, and becoming a part of the whole; the Other‘s community.
41
Silva, Jeane Colares da. "1972A pr?tica da educa??o pela m?sica do povo Mag?t". Universidade Federal Rural do Rio de Janeiro, 2016. https://tede.ufrrj.br/jspui/handle/jspui/1337.
Testo completoAbstract (sommario):
Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2016-10-25T11:52:39Z
No. of bitstreams: 1
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This essay is a research that shows some experiences with Ticuna indigenous groups, from Tabatinga city, Amazonas, in Alto Solim?es region, on the triple frontier between Brazil, Peru and Colombia. It describes, through the music aspect, how the educational practices transmit the cultural values,like language, habits, mythology, cosmology and all the elements which determines their culture and define their ethnicity. In this cultural universe the song from the young lade ritual was elected, for being a child song and a rite of passage from childhood to adulthood specific for girls from Mag?ta community, because it essentially presents a pedagogical character. At first, some ethnological concepts were used to understand and distinguish the indigenous education and the indigenous scholar education. Among the bibliographic reference consulted, there are important information sources to study Mag?ta people, written by authors like Jo?o Pacheco de Oliveira, Roberto Cardoso e Abel Ant?nio Santos. Many different methodology instruments of research such as bibliographic research and the observation of the participants were used. Were examined the historical processes inside the social movements and the indigenous movements which contributed to guarantee the educational rights to the Brazilian autochthones people. The music taught at school is historically a conquest of innumerous social movements. This research will talk about all this issues in the music teach, verifying its convergence about the indigenous scholar emancipation. The aim is to study deeply specific educational issues and analyze the conceptual ways of education that could be presented in the teach-learning practices. The indigenous song and specifically the Mag?ta indigenous song, were analyzed contextualizing the current musical practices concepts in the national culture. At last, it is possible to verify that the music educational practice that many educators fight to be installed in the Brazilian educational system is extensively involved in Mag?ta?s educational practice in Alto Solim?es region, because the music is an important pedagogical way to transmit the knowledge practiced by them.
Apresentamos neste trabalho uma pesquisa que visa expor experi?ncias com grupos ind?genas da etnia Ticuna, no Amazonas, na regi?o do Alto Solim?es, especificamente no munic?pio de Tabatinga, localizado na tr?plice fronteira entre Brasil, Col?mbia e Peru. Trata da descri??o de como se d? a pr?tica de ensino no sentido da transmiss?o dos valores culturais que definem essa etnia identitariamente como a l?ngua, costumes, mitologia, cosmologia e demais elementos determinantes em sua cultura, atrav?s da m?sica. Nesse universo cultural elegemos a m?sica ritual da festa da mo?a nova, por apresentar essencialmente um car?ter pedag?gico, sendo este um ritual de passagem para meninas da comunidade e a m?sica infantil Mag?ta, que ? amplamente utilizada como ferramenta de ensino entre os ind?genas. Como ponto de partida utilizamos conceitos etnol?gicos para compreender e diferenciar a educa??o ind?gena e a educa??o escolar ind?gena. Entre os autores consultados nas refer?ncias bibliogr?ficas constam importantes fontes para o estudo especificamente do povo1 Mag?ta como Jo?o Pacheco de Oliveira, Roberto Cardoso e Abel Ant?nio Santos. Foram utilizadas v?rias ferramentas de metodologia de pesquisa como a pesquisa bibliogr?fica e o trabalho de campo com observa??o participante. Procuramos conhecer os processos hist?ricos contidos a partir de movimentos sociais e os movimentos ind?genas que em muito contribu?ram para garantir o direito a educa??o dos povos aut?ctones brasileiros. No caso do ensino de m?sica na escola, historicamente ? fruto de conquista de in?meros movimentos sociais e partindo dessa tem?tica gostar?amos de abordar tais quest?es para o ensino de m?sica, verificando sua converg?ncia quanto a quest?o da emancipa??o escolar ind?gena. Buscamos estudar com maior profundidade quest?es espec?ficas da educa??o. Neste sentido, fomos analisar todas as formas conceituais de educa??o que poderiam estar contidas nesta pr?tica de ensino-aprendizagem. Analisamos a m?sica ind?gena, e a m?sica ind?gena Mag?ta, de forma a contextualizar com os conceitos vigentes do fazer musical, na cultura nacional. Enfim temos verificado que a pr?tica da Educa??o Musical, que muitos educadores lutaram para que fosse implantado no sistema de ensino brasileiro, est? muito presente na pr?tica de educa??o do povo Mag?ta aqui no Alto Solim?es, pois a m?sica ? um caminho de grande valor pedag?gico para transmiss?o de conhecimentos praticados por eles
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Hanisi, Nosipho. "Nguni fermented foods: working with indigenous knowledge in the Life Sciences: a case study". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1008372.
Testo completoAbstract (sommario):
This study examines learning interactions around indigenous ways of knowing associated with fermented grain foods (the making of umqombothi) and the concept of alcoholic fermentation in the Grade 11 Life Sciences curriculum. As an environmental education study it also investigates the cultural significances of the fermented grain food and how learners might make better lifestyle choices. The inclusion of indigenous ways of knowing in the Life Sciences curriculum (FET band) created spaces and opportunities for the use of both knowledge's in sociocultural context and the structured propositions of the learning area in order to construct knowledge. This stimulated learners' understanding of fermentation and also led to a valuing of social context as well as the cultural capital embedded in the indigenous ways of knowing. The study suggests that parental involvement contributed to this valuing of intergenerational ways of knowing. Learners also deliberated how colonial interpretations of Nguni culture and the religious beliefs of Christians had served to marginalise and foster a widening urban rejection of isiXhosa cultural practices related to fermented foods. In their learning and discussion, learners developed new insights and respect for isiXhosa fermentation practices (ukudidiyela) that bring out the food value and nutrition in the grain. The data illustrates that lesson activity that drew on relevant Learning Outcomes and Assessment Standards to integrate Indigenous Knowledge practices in a Life Sciences learning programme, served to enhance learner understanding of alcoholic fermentation. They also document a revaluing of cultural heritage and learners bringing up the problem of alcohol abuse in the community. Curriculum work with Indigenous Knowledge thus not only assisted learners to grasp the science but to use this alongside a valued cultural knowledge capital to deliberate and act on a local concern.
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Petrie, Jennifer L. "Music and Dance Education in Senior High Schools in Ghana: A Multiple Case Study". Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1440065860.
Testo completo
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Gluska, Virginia. "Fiddling with a Culturally Responsive Curriculum". Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19894.
Testo completoAbstract (sommario):
The discourse on education for Aboriginal people has long been limited to a curriculum of cultural assimilation often resulting in an erosion of self-esteem and disengagement. Consequently, this research puts forth narratives of how fiddle programs in northern Manitoba work as a culturally responsive curriculum that in turn address such curricular erosions. As a research methodology, Metissage afforded me pedagogical opportunities to weave the various perspectives of community members, parents, instructors, and former students into an intricate story that attempts to represent some of their social, cultural and historical experiences within the north. Braiding stories of the historical and present impacts of fiddle playing reveals the generative possibilities of school fiddle programs in Canadian Indigenous communities. In addition to building intergenerational bridges, the stories put forth in this thesis demonstrate how the fiddle has become a contemporary instrument of social change for many communities across northern Manitoba.
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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom". Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.
Testo completoAbstract (sommario):
The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
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Gillis, Dara Alexa. "Can You Move Me?Artistry, Expression and Education through theAfrican American Spiritual in the Public-School Classroom". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1603983928763982.
Testo completo
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Chevers, Ivy E. "A Study Of Rastafarian Culture In Columbus,Ohio: Notes From An African American Woman's Journey". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1221592719.
Testo completo
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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.
Testo completoAbstract (sommario):
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
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Greco, Mitchell J. "THE EMIC AND ETIC TEACHING PERSPECTIVES OF TRADITIONAL GHANAIAN DANCE-DRUMMING: A COMPARATIVE STUDY OF GHANAIAN AND AMERICAN MUSIC COGNITION AND THE TRANSMISSION PROCESS". Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398073851.
Testo completo
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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.
Testo completo