This investigation of a repertory of music, grew out of a need to find a link between the societal structures created, and the activity of a group of people for whom they are intended. Music is a universal phenomenon but has definite cultural boundaries. Ever since the author became a student at the University of Cape Town, he came under the deep impression of differing cultural activities. This dissertation is a result of cultural differences observed by him from childhood, concerning a group of people, who are termed 'Cape Malay', for the lack of a more appropriate term. 'Cape Ma lay' music, which refers to the who le repertory of moppies, ghommaliedjies, nederlandsliedere, ouliedere, £udjies and djiekers of the 'Cape Malay', was observed by him as a way of life of many South Africans. This is not always realised, and it is the hope of the author that educational authorities would try to recognise not only this 'Malay' musica l culture, but also make provision for its inclusion in the syllabus. The basic philosophy which the author has tried to convey, is that education should link up with the pupil's social environment. Allied with this, is an attempt by the author to develop and awareness of 'Malay' music amongst those South Africans who might not be aware of this repertory of music, which is unique in the world. The reading material is extensive, as may be ascerta ined from the lengthy bibliography at the end of this dissertation. Unfortunately, it is not nearly complete. Two very important sources are regrettably not included: A pre liminary thesis by Erica Mugglestone completed for a master's degree at Monash Un iversity in Australia, relating to the topic of this dissertation; and van Warmelo's work, which relates to 'Cape Malay ' music, and from

No description available.

No description available.

by James Reginald Jackson. / Typescript. / Ph. D. Florida State University 2001. / Includes bibliographical references (leaves 132-145).

Although this paper will attempt to answer numerous questions pertaining to the junior high and elementary instrumental music program it is hoped that it will be especially beneficial to one particular area or community. That area will be comprised of the Shenandoah Junior High School, Miami, and its three neighboring elementary schools. The instrumental music organizations in the high school and the junior high school of this community have enjoyed serving the cultural and aesthetic potential of both its students and parents for many years. The community in turn has responded by enthusiastically supporting both a band and an orchestral program in these two schools. / Advisor: Robert L. Briggs, Professor Directing Paper. / "A Paper." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Includes bibliographical references.

The problem of this study was to obtain empirical evidence of the functional nature of the Audio-visual Identification Instruction (AVII) model for designing effective music instruction for young children. The method was to use materials prepared according to the model specifications in actual classroom conditions. The purpose of the study was to compare the achievement gain of second grade children of high, middle, or low musical aptitude levels, who were instructed by experienced music specialists, first year music specialists, student teacher music specialists, or experienced classroom teachers using AVII model materials, on three tasks in the area of pitch and three tasks in the area of timbre. Subject to the circumstances and limitations of this investigation, the results indicate that the AVII model is effective for instruction for musical naming and identification tasks for young children.

Call number: LD2668 .T4 1938 S31

Some digitised pages may appear illegible due to the condition of the original hard copy. (entire content of poor quality) / Thesis (MMus)--Stellenbosch University, 2014. / AFRIKAANSE OPSOMMING: In Suid-Afrika, soos in alle ander lande, is daar musiekliefhebbers en kunstenaars met beperkte of geen musiekopleiding nie. Sommige van hulle het dikwels net In basiese musiekkennis en het heel waarskynlik nooit die geleentheid gehad om hulle kennis met eksterne insette te verbreed nie. Dit is juis teen hierdie agtergrond dat daar al vir 'n geruime tyd 'n behoefte bestaan om die nodige opleiding en onderrig aan persone te bied wat weens omstandighede buite hulle beheer (histories of andersins) nie formele musiekonderrig van watter aard ookal, kon ontvang nie. By die Konservatorium (Universiteit Stellenbosch) word daar twee oorbruggingskursusse, oftewel 'n Sertifikaatprogram, aangebied. Die teikengroep bestaan hoofsaaklik uit (i) mense wat na hulle gemeenskappe kan terugkeer om hulle nuutgevonde kennis toe te pas en/of (ii) voornemende musici wat graag vir die BMus-program wil inskryf nadat hulle die minimum tydperk van die Sertifikaatprogram suksesvol voltooi het. Die doel met hierdie studie was om te bepaal of die tweede Sertifikaat van die Sertifikaatprogram se huidige (i) kurrikulum en (ii) standaard 'n student in staat stelom aan die toelatingsvereistes van die BMus-program te voldoen en die kursus suksesvol te voltooi. Om die doel te verwesenlik, is kwalitatiewe navorsingsmetodes (byvoorbeeld literatuurstudie en waarneming) gebruik om die spesifieke inhoud wat in die Sertifikaatprogram benodig word, te ondersoek. Daar is gevind dat aspekte van die Elliott-model toegepas kan word op sertifikaatinhoude. Die navorser kon as waarnemer en dosent deur middel van klasbywoning en -aanbieding eerstehands bepaal of die kurrikulum wat op skrif gestel is, in die praktyk uitvoerbaar was. Empiriese inligting oor die betrokke kursus is deur middel van die opname prosedure en die gestruktureerde vraelys tegniek bekom. In Evalueringsvraelys oor kursusmodules wat oor 'n tydperk van twee jaar aangebied is, is ingevul deur sertifikaatstudente. Onderhoude is met BMus I dosente gevoer om te bepaal watter minimum standaard na hulle mening aanvaarbaar is wanneer 'n student vir die BMus-program inskryf. Deur middel van literatuurstudie is daar ook na eksterne faktore gekyk wat In invloed op die vordering van studente in die Sertifikaatprogram kon hê. Die hantering van aspekte soos motivering, onderrigtegniek en -benaderings wat suksesvolle volwasse onderrig sal verseker, eienskappe van volwasse leerders en die implikasies daarvan vir volwasse onderrig is binne die konteks van die Universiteit Stellenbosch se Sertifikaatprogram bespreek. Deel van die oogmerke van hierdie navorsing was ook om die moontlikheid van aanlegtoetse te ondersoek, omdat tans geen aanlegtoets afgelê word by die Departement Musiek nie. Verskeie bestaande aanlegtoetse is vir die doel bestudeer en die Advanced Measures of Music Audiation van E. Gordon is deur die navorser as die mees geskikte vir die doel van hierdie studie beskou. In die geheel het hierdie studie getoon dat die Sertifikaatprogram by die Departement Musiek, Universiteit Stellenbosch, baie potensiaal het, maar dat daar egter deeglik ondersoek ingestel moet word na die kurrikuluminhoude om sodoende die huidige standaard op / ENGLISH ABSTRACT: In South Africa, similar to all other countries, there are music lovers and artists with limited or no training in music. Some of them often only have a basic knowledge of music and probably never had the opportunity to broaden their knowledge with external inputs. It is against this background that the need exists to provide the necessary training and tuition for these persons who, due to circumstances beyond their control (historical or other), could not receive any formal music tuition whatsoever. The Department of Music (Stellenbosch University) offers two bridging courses, namely the Certificate programme. The target group consists mainly of (i) people who can return to their communities to apply their newly acquired knowledge and/or (ii) prospective musicians who would like to enrol for the BMus programme, after successfully completing the minimum period. The purpose of this study was to determine whether the second Certificate of the Certificate programme's current (i) curriculum, and (ii) standard, will make it possible for a student to meet the requirements for enrolment in the BMus programme and to complete the course successfully. To realise the objective, qualitative research methods (for example literature study and observation) have been employed to investigate the specific contents required in the Certificate programme. The researcher could, as observer and lecturer, by means of attending lectures and lecturing, determine first hand whether the curriculum which had been compiled, was viable in practice. The researcher obtained empirical data regarding the course in question by means of the survey procedure and structured questionnaire method. A questionnaire comprising the evaluation of course modules presented over a period of two years, was completed by certificate students. Questionnaires have been completed by BMus I lecturers to determine amongst other things, in their opinion, whether the minimum standard would be acceptable when a student enrols for the BMus programme. By means of literature studies, external factors which could influence the progress of students in the Certificate programme, have also been examined. The handling of aspects such as motivation, tuition techniques and approach, which wil ensure successful adult tuition, characteristics of adult learners and the implications thereof for adult tuition, have been discussed within the context of Stellenbosch University's Certificate programme. Part of the objectives of this research was to investigate the applicability of aptitude tests, because no aptitude test is required at the Department of Music at present. Various existing aptitude tests have been examined and the author has deemed the Advanced Measures of Music Audiation by E. Gordon as most suitable for this purpose. In its entirety this study has shown that the Certificate Programme of the Department of Music, Stellenbosch University has much potential, but, that thorough investigation should be initiated into curriculum contents to elevate the existing standard, in order that the link of the second Certificate with the BMus programme can be trouble-free.

Thesis (PhD) -- Stellenbosch University, 1993. / ENGLISH ABSTRACT: The purpose of this research endeavour is to develop an understanding of the general state of Aural Training as presented in Aural Training literature and at a tertiary level. Based on this understanding, recommendations for a theory towards Aural Training are furthermore made. The investigation consists of three main parts. In the first two parts, an in-depth theoretical study, exploring aspects such as the rationale behind Aural Training, teaching ideologies, contents and target group and methodological approaches found in published and unpublished sources, as well as a practical questionnaire-based survey, investigating selected Aural Training aspects as presented on a tertiary level in the Republic of South Africa (RSA), the Federal Republic of Germany (FRG), and the United States of America (USA) are presented. A model of an integrated Aural Training approach for children is proposed in the third part. Results from both the theoretical and practical surveys indicate that: (a) the rationale behind Aural Training has not been thoroughly thought through; (b) Aural Training lecturers with sound pedagogical credentials are needed; (c) prospective students are not prepared for their tertiary Aural Training courses; (d) the Aural Training curricula at most tertiary music institutions do not meet lecturers' expectations; (e) more instruction time is needed for classes scheduled in both individual and group tuition; (f) Aural Training literature and teaching methods are still influenced by the Behaviouristic school of psychological thinking, with its emphasis on drill and practice; (g) methods such as Sight Singing and Dictation are more frequently applied than others, possibly because they are readily quantifiable; (h) most emphasis is placed on tonal music; (i) research results in which holistic approaches to Aural Training have been recommended since the early 1980s are not reflected in the majority of Aural Training work-/textbooks and teaching methods; (j) commercially available software is often chosen because of its availability and not because of being based on sound pedagogical principles; (k) there is a growing interest amongst lecturers to re-examine the goals of Aural Training and to apply music psychological principles. Because of the already mentioned problem of improperly prepared prospective music students" and the scarcity of Aural Training approaches to develop children's musical consciousnesses, a model for integrating' Aural Training into the instrumental/vocal music lesson through composition is proposed. This model is based entirely on (a) the conviction that most effective learning takes place through active involvement and creation, and (b) music psychological principles such as Gestalt perception, the developmental theories of Piaget, Gardner and Swanwick-Tillman, and the musical thinking process theories of Prince and Webster. Through the application of this model, Aural Training can be approached by dealing with wholes within a musical context. Structural and perceptual thinking, as well as the mental principles of exploring, applying, problem-solving and critical reasoning can also be developed. It offers a comprehensive approach to learning written theory skills, and the opportunity to apply all other Aural Training methods. Examples of children's compositions are presented to support this model. It is finally recommended that: (a) Aural Training lecturers should constantly re-examine their objectives, contents, teaching philosophies and methods applied; (b) advanced courses in Aural Training should be offered at all tertiary music institutions in order to meet the need for adequately trained lecturers; (c) a compulsory course on the didactics of Aural Training should be offered for all music students; (d) more instruction time should be made available for Aural Training; (e) Aural Training should be treated in its own right in grading policies; (f) holistic approaches to both classroom-based and programmed Aural Training should replace drill and practice; (g) music from all style periods should be included; (h) a wide spectrum of Aural Training methods should be incorporated and not mainly Sight Singing and Dictation; (i) lecturers should inform themselves about recent research results and try to incorporate these into their Aural Training curricula and syllabi; g) Work-/textbooks and computer software based on holistic and comprehensive approaches to Aural Training should be released; (k) Aural Training should be incorporated from the very first instrumental/vocal lesson by applying an integrated, holistic approach through composition. / AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om 'n ondersoek te loods na die algemene stand van gehooropleiding soos daargestel in musiekliteratuur, en soos aangebied aan tersiere musiekinstansies: 'n Model vir gelntegreerde gehooropleiding word ten slotte voorgestel aan hand van hierdie inligting. Die inhoud van die ondersoek is in drie hoofdele georganiseer. In die eerste deel word In teoretiese ondersoek geloods na die redes vir, en doelstellings van gehooropleiding, onderrigfilosojiee, inhoud en teikengroep, en metodiese benaderingswyses. Die mate waarin hierdie aspekte, soos gevind in gepubliseerde en ongepubliseerde bronne, neerslag gevind het in tersiere gehooropleidingsprogramme in die Republiek van Suid-Afrika, die Federale Republiek van Duitsland en die Verenigde State van Amerika, vorm die kern van die vraelys-gebaseerde tweede deel. 'n Model vir gelntegreerde gehooropleiding met kinders word in die derde deel voorgestel. Resultate van beide die teoretiese en praktiese ondersoeke toon dat: (a) die redes vir, en doelstellings van gehooropleiding nog nie goed deurdink is nie; (b) spesiaal geskoolde gehooropleidingsdosente benodig word; (c) voornemende musiekstudente nie voorbereid vir tersiere gehooropleidingskursusse is nie; (d) die gehooropleidingskurrikula nie aandie vereistes van die meeste gehooropleidingsdosente voldoen nie; (e) meer onderrigtyd benodig word vir gehooropleiding, wat in beide individuele en groepsonderrig plaas behoort te vind; (f) gehooropleidingsmetodes steeds sterk belnvloed word deur die Behavioristiese skool van musiekpsigologiese denke waarin dril en herhaling beklemtoon word; (g) bladsang en diktee voorkeur geniet bo ander metodes, waarskynlik as gevolg van die feit dat studente se antwoorde makliker gekwantifiseer kan word as in ander metodes; (h) tonale musiek meestal beklemtoon word; (i) navorsingresultate waarin holistiese benaderingswyses tot gehooropleiding sedert die begin van die 1980's aanbeveel word, min tot geen invloed op die meerderheid gehooropleidingsteksboeke en -metodes gehad het; g) kommersieel beskikbare rekenaarprogramme dikwels gekies word op grond van beskikbaarheid en nie op grond van pedagogiese doelstellings nie; (k) daar 'n toenemende geinteresseerdheid onder dosente is om die doelstelling van gehooropleiding te re-evaIueer, en om musiekpsigologiese beginsels in gehooropleiding te inkorporeer. Vanwee die reeds genoemde probleemvan onvoorbereide voornemende musiekstudente wat gehooropleiding betref en die skaarsheid aan gehooropleidingsprogramme vir kinders, is 'n model vir die integrering van gehooropleiding deur middel van komposisie in die instrumentale en/of sangles voorgestel. Hierdie model is gebaseer op (a) die oortuiging dat die mees effektiewe vorm van leer plaasvind d.m. v. aktiewe betrokkenheid en skepping; en (b) die musiekpsigologiese beginsels van Gestalt-waameming, die ontwikkelingsteoriee van Piaget, Gardner en Swanwick- Tillman, en musikale denkprosesteoriee van Prince en Webster. Deur middel van hierdie model kan gehooropleiding benader word vanuit 'n holistiese oogpunt deurdat gehele binne 'n musikale konteks behandel word. Daardeur word nie net strukturele en persepsuele denke ontwikkel nie, maar ook verstandelike denkprosesse soos ontdekking, aanwending, probleemoplossing en kritiese denke. Dit bied ook die geleentheid vir 'n geheelbenadering tot die aanleer van musiekteoretiese kennis en skryfvaardighede, en die inkorporering van aIle ander gehooropleidingsmetodes. Voorbeelde van kinders se komposisies is ingesluit as bewys daarvoor dat dit weI in die praktyk toepasbaar is. Ten slotte word aanbeveel dat: (a) gehooropleidingsdosente hulle doelstellings, onderrigfilosofiee en -metodes voortdurend krities moet betrag en ondersoek; (b) gevorderde kursusse in gehooropleiding aan alle tersiere musiekinstansies aangebied behoort te word om sodoende te voorsien in die nood van onvoldoende geskoolde,dosente; (c) alle studente verplig moet word om 'n kursus in gehooropleidingsdidaktiek te volg; (d) meer onderrrigtyd ingeruim behoort te word vir gehooropleiding; (e) gehooropleiding as 'n vak in eie reg behandel moet word by puntetoekennings; (t) metodes van 001 en herhaling met holistiese benaderingswyses tot gehooropleiding in beide klaskamergebaseerde en geprogrammeerde onderrig vervang moet word; (g) musiek van alle stylperiodes ingesluit behoort te word; (h) 'n wye spektrum van gehooropleidingsmetodes aangewend moet word en me slegs bladsang en diktee me; (i) gehooropleidingsdosente hulself voortdurend op hoogte van die nuutste navorsingsresul-tate behoort'te hou en moet poog om hierdie resultate in hulle gehooropleidingsprogramme te integreer; g) gehooropleidingsboeke en rekenaarprogramme wat op holistiese en kontekstuele benaderings tot gehooropleiding gebaseer is, gepubliseer moet word; (k) gehooropleiding vanaf die eerste instrumentale en/of sangles gei'ntegreer behoort te word deurdat die voorgestelde model van 'n holistiese benaderingswyse d.m. v. komposisie aangewend word.

Estelle Liebling (1880-1970) was a phenomenally successful voice teacher who occupies a place in the chain of succession of voice teachers devoted to the ideals of the bel canto. Turning out over seventy-five Metropolitan Opera stars over the fifty-plus year span of her teaching career, she was regarded during her lifetime as one of the most distinguished voice teachers in America. Her editions, compositions, and pedagogical writings exerted an influence on the world far exceeding the boundaries of the New York professional musical sphere in which she operated. Despite this, almost nothing has been written to date that documents her contribution to the world of singing. Much of Liebling's pedagogical outlook was derived from that of her immediate predecessor, Mathilde Marchesi, and direct comparison of Liebling's Vocal Course to Marchesi's Theoretical and Practical Vocal Method shows this relationship. Liebling herself acknowledged Marchesi's influence, but the pedagogy she espoused was by no means a carbon copy of that of Marchesi. Important differences exist, distinguishing Liebling's pedagogy as separate and individualized, a legitimate successor to the Marchesi Method. Liebling's legacy consists not only of her teaching and pedagogical writings, however. The tremendous body of vocal literature which she edited, arranged, and composed, mostly for coloratura soprano, is enough in of itself to justify her place in music history. Additionally, her catalogue work of cadenzas and ornamentation for coloratura soprano literature still stands today as the monumental work on the subject.