In hierdie studie word gepoog om ’n historiese oorsig te gee oor die bydrae van die Drakensberg Seunskoor tot die musieklewe in Suid-Afrika. So ’n studie is nog nie voorheen onderneem nie. As agtergrond tot die geskiedkundige navorsing is ʼn algemene oorsig van die koortradisies in Suid-Afrika, en hoe wedersydse beïnvloeding met die Drakensberg Seunskoor plaasgevind het, in hierdie studie uiteengesit. Daar is verder gekyk na die ontstaan en algemene agtergrond van die skool, die musiekopvoeding, kooraktiwiteite, konserte, repertorium, opnames, oudleerlinge en dirigente. ’n Algemene historiese weergawe van die Drakensberg Seunskoor vorm die grootste komponent van die studie. Persoonlike gesprekke, direkte observasie, deelnemende observasie, versameling van inligting deur dokumente en argiefrekords en die studie van kulturele artefakte is die metodes wat gebruik is om inligting te versamel. As gevolg van die feit dat die koor ʼn groot hoeveelheid repertorium van verskillende genres sing, word die toonkunstenaarskap van die koorlede en dirigente uitsonderlik ontwikkel, veral wat betref verskillende uitvoeringspraktyke, wat ook ’n praktiese toepassing is van die musiekkurrikulum by die skool. Die aantal optredes, toere, repertorium en opnames, asook die aantal hoëprofielkontrakte wat die Drakensberg Seunskoor sedert sy ontstaan ontvang het, is ’n duidelike bewys dat hierdie koor nie slegs ’n baie groot invloed op die Suid-Afrikaanse musieklewe het nie, maar ook internasionaal uitstekend vaar. Die sukses van alumni en oud-dirigente se verdere musiekloopbane onderskryf ook hierdie stelling. Die genoemde intense opvoeding deur middel van musiek het tot gevolg dat van die oud-leerlinge die internasionale musiekwêreld met sukses betree, en daardeur die skool se invloed ver buite die landsgrense uitdra. Curricula vitae van alumni van die skool, waaronder Barry Coleman, Jacques Imbrailo, Colin Lee, Mark Nixon, Clint van der Linde en Deon van der Walt, staaf hierdie stelling. Curricula vitae van dirigente wat betrokke was by die koorskool sedert die ontstaan van die skool (in 1967) tot 2006 toon dat die koor nie slegs musici van formaat lok nie, maar ook aan hierdie afrigters die geleentheid bied om hulle toonkunstenaarskap te ontwikkel wat hulle in staat stel om later ’n groot rol in die musieklewe van Suid-Afrika, asook soms internasionaal, te speel. Hierdie studie lewer ’n bydrae tot die erkenning wat die Drakensberg Seunskoor verdien. Dit gee terselfdertyd aan uitvoerders, studente en historici ’n breër agtergrond, insig en waardering vir die koorskool. English This study aims to give a historic overview of the contribution of the Drakensberg Boys’ Choir to music in South Africa. Such a study has not yet been undertaken up to date. As background to the historic research, a general overview of choral traditions in South Africa and the mutual influence with the Drakensberg Boys’ Choir is set out in this study. Other aspects explored include the origin and general background of the school, the musical education, choir activities, concerts, repertoire, recordings, past students and conductors. A historic account of the choir forms the greatest part of the study. The methods used to gather information include interviews, personal conversations, direct observation, participatory observation, the collection of information from documents and archive records and the study of cultural artefacts. Because the choir sings a large repertoire from different genres, the musicianship of the choir members and conductors is developed particularly well, especially regarding different performance practices, which is also a practical application of the music curriculum at the school. The number of performances, tours, repertoire and recordings, as well as the high profile contracts that the Drakensberg Boys’ Choir has received since its origin, are clear indications that the choir not only has a significant influence on South African music, but also does exceptionally well internationally. The success of the further music careers of alumni and past conductors supports this statement. The school’s intense education through music means that past students enter the international music world successfully, and in this way carry the school’s influence far beyond the country’s borders. Curricula vitae of alumni of the school, which include Barry Coleman, Jacques Imbrailo, Colin Lee, Mark Nixon, Clint van der Linde and Deon van der Walt, are proof of this. Curricula vitae of conductors that have been involved with the choir school since its origin (in 1967) to 2006, show that the choir not only attracts noted musicians, but also offers them the opportunity to develop their musicianship, which allows them to later play a great role in music in South Africa, often also internationally. This study contributes to the recognition that the Drakensberg Boys’ Choir deserves. It gives performers, students and historians a broad background, and at the same time insight into and appreciation for the choir school. / Thesis (DMus)--University of Pretoria, 2008. / Music / unrestricted

This research concerns the design of a multiple-media study package for sight-singing and how national standards for sight-singing can be realised by using this study package. Sight-singing is a skill which can be of great value for singers, choristers and other musicians. Unfortunately this skill has been sadly neglected in South African schools. The result is that a great percentage of society (and in particular, choristers) is not able to read music and then sing it. The researchers is responsible for sight-singing tuition at the Drakensberg Boys’ Choir School, which is the only choir school in South Africa. The ages of new choristers vary from 9 to 13 years and there is a considerable variation in their music backgrounds. It is therefore essential that every learner can work at his own pace to master sight-singing. The author did research on this subject to compile a sight-singing programme which will enable learners to reach a high standard of sight-singing while progressing at their own pace. By making a study of relevant literature, the author gathered information on sight-singing, reading, communication, educational media as well as Outcomes-Based Education and instructional design. The author formulated criteria for a sight-singing programme and for the use of educational media in such a programme. These criteria are used to evaluate seven different sight-singing programmes. The evaluation indicated to the researcher how other authors approached the subject. He identified the strong and weak points of every programme. The researcher designed a multiple-media study package for sight-singing according to Dick and Carey’s systems approach model for designing instruction (1996). The study package consists of a workbook, a textbook and two audio CDs. The author did action research by using the study package to teach sight-singing to the new choristers at the Drakensberg Boys’ Choir School. Various problems in the study package became clear while using it for teaching. The study package was amended a number of times to eliminate the shortcomings. This research indicates that sight-singing is not only possible when a competent teacher is present. Students can learn sight-singing independently by using a multiple-media programme. / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted