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South African primary school children need to be confronted with music in such a way that they can create, perform, listen and relate to it in a multicultural setting. This can be achieved by integrating music into the primary school curriculum, by means of ideas drawn from Comprehensive Musicianship, the spiral curriculum and outcomes-based education. Apart from the educational value of an integrated curriculum, the shortage of trained music educators makes it a necessity to involve generalist teachers in this way. There is thus a need, not being met by SASMT or SAMES, for a professional organisation to examine the goals and objectives of school music, and to equip teachers to put them into practice. In addition, as music is not specifically protected in Curriculum 2005, a professional organisation dedicated to primary school music is crucial to the survival of music education in South Africa. / Art History, Visual Arts & Musicology / M. Mus.

Multiculturalism is a policy of support for exchange among different groups of people to enrich all while respecting and preserving the integrity of each. South Africa comprises one of the most multi-ethnic, multiracial, multireligious and multicultural societies in the world. South Africa is a vast country of many peoples with many musics. Multicultural music can contribute to educational reform by providing equity and equality of learning experiences to all learners in a multicultural society. Music is not just an art to be practised within the education of a multicultural society. It is, in itself, a truly multicultural education. In the study of music education, the culture and nature of a people must be understood. There must be opportunities for all to be immersed in the music of other indigenous cultural groups and of world cultures. Music activity is not an isolated activity within a culture; music education as culture is the concept. Children have developmental levels and specific needs in different stages. This learning and becoming child experience music as a group of processes that reflect in sound what is happening in life. There is a difference in the development and behaviour between children of various cultures. Each child has special needs to become self-actualized. Multicultural music education attempts to meet these needs. In this thesis a curriculum model for multicultural music education is proposed. A common elements approach used in a spiral of musical and human development and based on the sound approach is used to expand awareness of fundamental elements of music to include all types of music of all people. This approach would lead to better understanding of other peoples and cultures. Based on these findings, guidelines and recommendations for multicultural music education are provided. / Educational Studies / D. Ed. (Empirical Education)

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Thesis (M.Sc.)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: Current technological development has a strong impact on education. Students normally have free access to computers and the internet. Computer-based instruction is more frequently available in classrooms and reinforces the traditional educational systems. The purpose of this study was to determine whether a computer-based program, Auralia 2.1, can be used effectively in the Music Certificate Course of the University Stellenbosch. Due to limited time during lessons as well as time-constraints for individual practising by the students, the researcher investigated the efficacy of Auralia 2.1 for use in the classroom. Students are able to practise individually during lessons as well as on their own. The problem to find a peer to practise aural training is therefore avoided as the computer fulfills this function. The researcher administered Auralia 2.1 on a group of eight Certificate students from the University Stellenbosch. The evaluation period consisted of two semesters of fourteen weeks each. The researcher used the traditional method of aural training in the first semester and she used Auralia 2.1-sessions in the second semester. The researcher compared the two semesters to each other to ensure the integrity of the results of the research. The researcher systematically held record of observations as well as the progress of the students. Questionnaires were completed and interviews were held as part of the evaluation process. Suggestions are made in this thesis on how Auralia 2.1 can be used effectively for educational aims. / AFRIKAANSE OPSOMMING: Die hedendaagse ontwikkeling in tegnologie het ‘n sterk invloed op opvoeding. Studente het oor die algemeen vrye toegang tot rekenaars en die internet. Rekenaargesteunde onderrig kom toenemend in klaskamers voor en word ter versterking van die tradisionele onderwysstelsel gebruik. Die doelstelling van hierdie navorsing was om te bepaal of ‘n rekenaargesteunde onderrigprogram, naamlik Auralia 2.1, effektief benut kan word in die musiekoorbruggingsprogram (Sertifikaatkursus) van die Universiteit Stellenbosch. Weens beperkte klastyd en ‘n gebrek by Sertifikaatstudente aan noodsaaklike tyd vir gehooropleidingsoefeninge, het die navorser ondersoek ingestel na die effektiwiteit van Auralia 2.1, vir gebruik in die klas. Die studente kon met behulp van die rekenaar individueel tydens asook buite klastyd oefen. Probleme om ‘n “oefenmaat” vir gehoor te vind is dus uitgeskakel aangesien die rekenaar daardie funksie vervul het. Die navorser het die program Auralia 2.1 op ‘n groep van agt Sertifikaatstudente van die Universiteit Stellenbosch toegepas. Die evaluering het oor twee semesters van veertien weke elk gestrek. Die navorser het in die eerste semester ‘n tradisionele metode van gehooropleiding gevolg en in die tweede semester het sy gebruik gemaak van Auralia 2.1-sessies. Die navorser het die twee semesters met mekaar vergelyk om sodoende die integriteit van die navorsingsresultate te verseker. Daar is tydens die navorser se studie sistematies verslag van die waarnemings en die studente se vordering gehou. Vraelyste is voltooi en onderhoude gevoer as deel van die evalueringsproses. In hierdie tesis word daar ook voorstelle gemaak oor hoe Auralia 2.1 effektief gebruik kan word vir opvoedkundige doeleindes.

Thesis (MPhil)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The South African Department of Education (DoE) recently introduced a new curriculum for schools. This curriculum, namely Curriculum 2005 (C2005), and later revised as the National Curriculum Statement (NCS), is functional at a national level in South Africa and claims to be a more equitable curriculum than its predecessor by incorporating a philosophy that accommodates all South African learners from diverse cultural and ethnic backgrounds. C2005 (NCS) promotes the principles of outcomes-based education (OBE) and shows a high regard for the Constructivist Learning Theory. In 2006 teachers will be expected to implement the Further Education and Training (FET) Band of the NCS. This study critically investigates C2005 (NCS) with the view to an improved understanding of multicultural education. The focus then turns towards music education by reviewing suggested teaching practices for multicultural music education. Following this is a thorough exploration of several approaches for the teaching of music from diverse cultures with an examination of the various appropriate models for music teaching. However, certain issues arise within the South African context as to whether music teachers have had the necessary preparation for the effective implementation of the prescribed music syllabus of the FET band. The prescribed music syllabus of the FET band includes a variety of musical genres and styles. This analysis culminates in a reflection on African music, which includes an investigation of how African music functions within traditional African societies and an approach for the effective transmission of African music in schools is proposed. Also, arising from numerous reviews concerning the teaching of African music, are opposing convictions that afford the reader an opportunity for creative thought. The lack of adequate didactical resources for the teaching of African music has resulted in a keen interest by the author in employing technology for instructional purposes. This study concludes by exploring recommendations concerning the design of an effective instructional programme that relies on technology and discusses the development of an appropriate technological resource for the teaching of African music. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse Onderwys Departement het onlangs ‘n nuwe kurrikulum aan skole bekendgestel. Hierdie kurrikulum, naamlik Kurrikulum 2005 (K2005), en later die Nasionale Kurrikulum Verklaring (NKV), is van toepassing op nasionale vlak in Suid-Afrika en maak daarop aanspraak om ‘n meer regverdige kurrikulum as sy voorganger te wees deur ‘n filosofie te bevat wat alle Suid-Afrikaanse leerders uit verskillende kulturele en etniese agtergronde akkommodeer. K2005 (NKV) bevorder die beginsels van Uitkoms Gebaseerde Onderwys (UGO) en vertoon ‘n hoë affiniteit vir die Konstruktiewe Leerteorie. Dit sal van onderwysers verwag word om in 2006 die Verdere Onderwys- en Onderrigband van die NKV te implementeer. Hierdie tesis ondersoek K2005 (NKV) krities met die oog op ‘n verbeterde begrip vir multikulturele onderwys. Die fokus skuif dan na musiekopvoeding met ‘n oorsig oor voorgestelde onderwyspraktyke vir multikulturele musiekopvoeding. ‘n Deeglike bespreking van verskeie benaderings vir die onderrig van musiek van verskeie kulture volg dan, asook ‘n ondersoek oor verskillende toepaslike modelle vir musiekonderrig. Sekere kwessies ontstaan egter binne die Suid- Afrikaanse konteks waarby daar gevra word of musiekonderwysers oor die nodige voorbereiding vir die effektiewe implementering van die voorgeskrewe musiekkurrikulum van die VOO-band beskik. Die voorgeskrewe musiekkurrikulum van die VOO-band sluit ‘n verskeidenheid musiekgenres en -style in. Hierdie analise word gevolg deur nadenke oor Afrika musiek, wat ’n ondersoek insluit na die wyse waarop Afrika-musiek binne die tradisionele Afrika-gemeenskap funksioneer. Voorstelle vir die benadering van Afrika-musiek in skole word gemaak sodat die effektiewe oordrag van Afrikamusiek verseker sal word. In hierdie bespreking word teenstrydige opinies wat na vore kom in die talle oorsigte oor die onderrig van Afrika-musiek, voorgehou. Dit bied die leser ‘n geleentheid tot kreatiewe denke. Die gebrek aan geskikte didaktiese bronne vir die onderrig van Afrika-musiek het gelei tot ‘n groot belangstelling by die navorser oor die gebruik van tegnologie vir onderrigdoeleindes. Hierdie studie sluit af met ‘n ondersoek na die ontwerp van ‘n effektiewe onderrigprogram wat op tegnologie gebaseer is, en met ‘n bespreking van die ontwikkeling van ‘n geskikte tegnologiese bron vir die onderrig van Afrika-musiek.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Community music is at the innermost heart of any music society, yet its generally informal training structures have rendered it somehow second-class in the general view. South Africa‟s formal education structures have tended to favour the elite at the cost of those who are historically deprived, a pattern which developed centuries before the advent of legal Apartheid. This lack of official favour may be the source of the intensity of community music development in the Western Cape, a locus of cultural and ethnic diversity remarkable even in South Africa. Brass instruments, with their inherent portability and relative affordability, have been at the heart of much church music in the past two hundred years. For the Salvationists, the brass band has long been the „peripatetic organ‟ for use at services indoors or outdoors. For the German-related churches, the Posaunenchor, now a brass choir, fulfils many of the same functions. These and other informal structures like them tend to reproduce themselves by means of „apprenticeship‟ of novitiate players to experienced bandsmen. A substantial number of church-trained players have become professional in the context of military bands in the Cape and elsewhere in South Africa. Some have, with more formal training, become symphonic instrumentalists of considerable rank in South Africa. This dissertation sets out to describe the milieu from which brass-players have emerged when formal instrumental instruction has been unavailable to them. It describes past and current efforts to bolster and upgrade brass training for youth, and the ways in which this couples with social upliftment for youth. Perhaps most importantly, it furnishes information and tools for South Africa to join fully with international efforts to research the phenomena of community music and to better understand their significance.

Thesis (MMus (Music))--University of Stellenbosch, 2006. / The piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.

Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: This study involves the research and documentation to develop an integrated, outcomesbased curriculum for music education in Grade 8 in South Africa by using guided composition as a teaching method. Directives from the new national curriculum, i.e. Curriculum 2005, the current Western Cape Education Department's syllabus for Music and the British National Music Curriculum are considered and applied. Composition is a medium that assists learners in exploring sound in an approach that emphasizes discovery through processes of creative thinking when organizing sound. Music as an art form cannot be mastered through discussion and performance alone. This study focuses on how composition helps learners to explore and discover through problem-solving activities when learning to think in sound and to manipulate the language of music. General perspectives on music education curricula are researched to determine an acceptable theoretical proficiency level for Grade 8. The praxial music educational approach of David Elliott is used as a philosophical foundation for developing the composition program curriculum. Actively making music, developing musicianship and developing creativity in music education form the backbone of this author's approach and hence an accountable basis for a curriculum. Fundamental issues in developing a curriculum are examined, the crux being how we learn. Cognitive apprenticeship and reflective thinking as praxial techniques focussing on integrated and holistic learning are proposed as a methodology for a music education curriculum, in this case composition. A curriculum for guided composition is designed and set out in four stages according to the four stages of curriculum development as proposed by David Elliott. Orientation, preparation and planning, teaching and learning and evaluation and assessment are addressed. This composition program attempts to situate and activate musical learning by proposing teaching and learning skills through which learners can activate and catalyze their creativity. When learning and experiencing music in a situated, authentic and practical way, as through composition, lifelong involvement, musical skills and continued enjoyment and accountability for the subject can be stimulated and established. / AFRIKAANSE OPSOMMING: Hierdie studie behels die navorsing en dokumentasie van die ontwikkeling van 'n geïntegreerde, uitkomsgebaseerde kurrikulum vir musiekopvoeding in Graad 8 in Suid- Afrika deur begeleide komposisie as 'n onderrigmetode te gebruik. Riglyne uit die nuwe nasionale kurrikulum, nl. Kurrikulum 2005, die huidige Wes-Kaap Onderwysdepartement se sillabus vir musiek en die Britse Nasionale Musiekkurrikulum word ondersoek en toegepas. Komposisie is 'n medium wat hom by uitstek daartoe verleen om op ontdekkende wyse, deur middel van kreatiewe prossesse, klank te eksploreer wanneer dit georganiseer word. Musiek as kunsvorm kan nie bemeester word deur blote besprekings oor musiek en voordrag alleen nie. Hierdie studie ondersoek hoe komposisie leerders kan help om te eksploreer en te ontdek deur middel van probleemoplossingsaktiwitieite wanneer hulle leer om in klank te dink en die taal van musiek te manipuleer. Breë perspektiewe op musiekopvoedkundige kurrikula word ondersoek om 'n aanvaarde vlak van teoretiese bevoegdheid vir leerders in Graad 8 te bepaal. Die praksiële musiekopvoedkundige benadering van David Elliott is die vertrekpunt om as filosofiese basis vir die ontwikkeling van hierdie komposisieprogram te dien. Aktiewe musisering. die ontwikkeling van musiseerderskap en die stimulering van kreatiwiteit in musiekopvoeding vorm die ruggraat van hierdie outeur se benadering en derhalwe 'n besinde basis vir 'n kurrikulum. Fundamentele aangeleenthede in die ontwikkeling van 'n kurrikulum word ondersoek, waar die kruks lê in hoe ons leer. Kognitiewe vakleerlingskap en reflektiewe denke is praksiële tegnieke wat fokus op geïntegreerde en holistiese leer en word voorgestel as 'n metodologie vir 'n musiekopvoedkundige kurrikulum, in hierdie geval komposisie. 'n Kurrikulum vir begeleide komposisie word ontwerp en word voorgestel in vier fases volgens die vier fases van kurrikulum-ontwikkeling van David Elliott nl. oriëntasie, voorbereiding en beplanning, onderrig en leer en evaluasie en assessering. Die komposisieprogram word geëvalueer en metodes van kurrikulum-evaluering word beskryf. Die komposisieprogram poog om musikale leer te situeer en te aktiveer deur onderrigen leervaardighede voor te stel waardeur leerders hul kreatiwiteit kan aktiveer en kataliseer. Wanneer musiek in 'n gesitueerde en outentiek praktiese wyse geleer en ervaar word, soos deur komposisie, kan lewenslange leer, musikale vaardighede, voortgehoue genot van musiek en regverdiging van die vak gestimuleer en gevestig word.