The requirement of the South African Qualifications Authority (SAQA) for unit standards to be written for all fields of learning has given music educators a unique opportunity to identify the needs of the whole community and reassess the priorities of music education in South Africa. The field of African musics poses some special problems because it has been excluded from the curriculum in the past and because the informal learning traditions need careful attention if they are to be adapted to formal learning contexts. A simple substitution of African for Western music theory, history and instrumental practice is not an appropriate course of action, as African musics are rooted in a philosophical framework that is quite different from that of Western music. In order for culturally appropriate unit standards to be written, a philosophical basis of African music-making must first be identified from a study of African music practices. Secondly, an examination of the general principles of the musics of South Africa, with judicious examples taken from other parts of Africa will guide the approach to the writing of unit standards for African musics. Curriculum frameworks from other countries which have developed standards within an outcomes-based education (OBE) context, and the specific outcomes for Arts and Culture, are the third element to inform the writing of unit standards for African musics. The problems of implementation are various, including the shift from informal learning contexts to formal, but in the praxial approach to music education this dilemma can potentially be resolved. Most pressing are the limited resources of provincial education departments, and an emphasis on training to develop the musicianship of educators is of primary importance. African musics in the curriculum will require not only fresh musical material but also a shift in approach, incorporating the community values of the music which affirm the processes of music-making. / Dissertation (MMus)--University of Pretoria, 2006. / Music / unrestricted

The Northern Areas of Port Elizabeth are mostly comprised of the so called “Coloured” community and is vibrant in tradition and musical activities. Community music in the form of marching bands, brigade bands, wind bands and brass bands form a central part of the music activities in this area. The non-availability of music education in schools combined with the multitude of social challenges creates a cultural and moral vacuum. Children are not exposed to the finer arts and music in particular and without these bands and groups probably never will. This study will explore five community bands/groups and the role they play in the lives of people and especially the children and the youth. The impact and influence music has on the social upliftment of under-privileged children in this area has never been studied. The study shows the big impact these bands/groups have on the children and the communities they serve and highlights the dedication and good work of those band managers working with these groups. The study concludes with a proposal that an art/music centre be established in the Northern Areas of Port Elizabeth.

A research report submitted in partial fulfilment of the requirements for the degree of Master of Arts (Sociology) / Can there ever be a space for radical Black performativity, by which I mean, a type of Black performance that is a challenge to, and not just a reiteration of (including in others’ enjoyment of it) the anti-Blackness of the world? This project – film and conceptual essay - investigates the limits and boundaries of this question and it does so through kwaito: a uniquely South African post 1994 musical and cultural phenomenon that is specifically born from the experiences of township life and of Blackness in South Africa. It does so as a way to think about the validity of the proposition put forward by Black Studies (mainly in Afro-pessimism) that violence in the modern world underwrites the Black person’s capacity to think, act, and exist spatially and temporally, this is in opposition, say, to Fred Moten’s Black Optimism, that holds that ‘objects’, that is to say Blacks, can and do resist and they do so through performance. This project then enters the debate in Black Studies through a questioning of the ‘authenticity’ of Black radical performativity and cultural practices and it reads kwaito as a Black cultural performative practice that is a form of fugitivity. This paper looks at some of the more hopeful, humanistic interpretations of Black aesthetics and proposes as a challenge that we rather think about and read kwaito as something close to a deranged apocalyptic response to anti-Blackness, that does not offer answers, and is a movement that operates as a form of fugitivity that unveils the quotidian and banal subjectivity of Black township life in South Africa post 1994. / NG (2020)

Text in Afrikaans / Die doel van hierdie verhandeling is om die opvoedkundige en artistieke waarde van klavierwerke, wat vir die Universiteit van Suid-Afrika (hiema UNISA) se musiekeksamens voorgeskryf is, uit te lig. Die eerste hoofstuk gee 'n beknopte oors1g van die geskiedenis van UNISAmusiekeksamens. In die tweede hoofstuk word geselekteerde werke ontleed en geevalueer. Daarna volg drie bylaes wat die volgende inligting bevat: Bylae 1 'n V olledige lys van alle werke wat tot 1990 gekomponeer is vlf UNISA se klaviereksamens, volgens komponiste gerangskik. W erke word alfabeties ingedeel volgens die komponis en datums word voorsien van wanneer die werk gekomponeer en voorgeskryf is. Werke wat nie in hierdie verhandeling ontleed is nie, word met 'n asterisk aangedui. Bylae 2 'n Volledige lys van alle werke wat tot 1990 gekomponeer is Vlf UNISA se klaviereksamens, volgens grade ingedeel. Komponiste word graadsgewys alfabeties gerangskik. Bylae 3 Kort biografiese sketse van die komponiste gedek in hierdie verhandeling ter inligting van leerlinge en onderwysers. Komponiste word alfabeties gerangskik. In hierdie verhandeling is slegs navorsing gedoen met betrekking tot die klavierwerke. W erke van ander instrumente is nie nagevors nie. Veertig komponiste se werke word gedek. Meer as eenhonderd en dertig stukke is versamel. Die ontleding van al hierdie werke sou te veel wees vir die omvang van hierdie verhandeling en is daar dus geselekteer. Seleksie het plaasgevind op grond van: Eksamengraad Daar word op laer grade gekonsentreer (V oorgraad 1 tot graad 5) omrede dit juis gedurende hierdie aanvangsonderrig is waar die liefde en belangstelling vasgele word vir die aanleer van werke uit eie bodem. Twee vorige verhandelings oor Suid-Afrikaanse klavierwerke ontleed oorwegend werke van hoer grade. Die navorser verwys hier na verhandelings van Rosemary YA Maritz en CL Venter (volledige verwysing in bibliografie). Moeilikheidsgraad Stukke wat makliker hanteerbaar is vir die leerling, het voorkeur geniet. Geen werke van graad 8 en die Onderwyslisensiaat of Voordraerslisensiaat word ontleed nie. Enkele werke van grade 6 en 7 word egter ook ontleed. Die ontleding en evaluering van die werke word alfabeties, volgens komponiste, ingedeel. In die ontleding word daar gelet op aspekte wat van opvoedkundige en artistieke waarde vir die jong leerling sal wees. Dit word ook bedoel as aansporing vir die onderwyser om van die werke aan die leerling te leer. Al die werke (voorgraad 1 tot graad 7) is bekombaar van die Argief in die biblioteek van die Universiteit van Suid-Afrika. Sommige onderwysers mag nog van die ou eksamenbundels in hul privaat versameling he. Dit sou egter 'n groot aanwins wees indien al hierdie musiek beskikbaar sou wees in een bundel. Onderwysers sou dan meer gereeld van die werke in die jong leerling se repertorium kon insluit. Die navorser vertrou dat die benadering van hierdie verhandeling, wat konsentreer op interessante opvoedkundige aspekte, die leerkrag sal voorsien van voldoende motivering om van die ryke erfenis uit eie bodem gebruik te maak, sodat dit nooit verlore mag gaan nie. / Art History, Visual Arts and Musicology / M. Mus.

Thesis (MMus) -- Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody. / AFRIKAANSE OPSOMMING: GEEN

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1995.

Music in the curricula, music in the schools, supportive materials, and facilities were examined in six out of seven South African educational jurisdictions during the late 1970's. Official views were compared with what actually occurred. A profile of the teachers involved included their training, responsibilities, and status within the educational system. The detailed information was compared with trends appearing in the 1980's. / Thesis (M.Mus.)-University of Natal, Durban, 1987.

Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.

In this study the liturgical usage of the organ is investigated within a post-modern society. It focuses specifically on the church services of the Dutch Reformed Congregations of Port Elizabeth with regards to the functionality of the organ during morning and evening services. The objectives of the study are to demonstrate the current situation of musical worship in the Dutch Reformed Congregations of Port Elizabeth. Furthermore it serves as a way to indicate any deficiency in the field, which would need to be addressed. In order to achieve these objectives, both a qualitative and quantitative study is undertaken. The qualitative study investigates existing literature regarding the church service and its music. The quantitative study comprises an analysis of self-administered questionnaires that was handed over for completion by the Dutch Reformed Congregations of Port Elizabeth. The results obtained were electronically processed to percentages and graphic illustrations. In this mini-treatise it is argued that the usage of other music instruments (in the form of music worship groups) during church services could possibly lead to a change in the liturgical function of the organ. It was found that the usage of the organ in the Dutch Reformed Congregations of Port Elizabeth was mainly retained during morning services. During evening services however, the usage of other music instruments was in the majority, which resulted in a decrease of organ usage. It was further discovered that a large group of organists are not involved with music worship groups. Training of organists in a contemporary style of music worship will therefore serve as a significant purpose to fulfil this deficiency.

MAAS / MER Mathivha Centre for Languages Arts and Culture