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.

The primary intention of this study is to develop a profile of the kind of educator that is needed for effective music education in the Intermediate Phase. Obviously, the primary framework necessary for such a study is the national curriculum with its Outcomes Based Education (OBE) underpinnings. From these outcomes, the principal criteria for determining the necessary qualities ofsuch a teacher may be derived. While the logic of this is straightforward, the process of translating outcomes into specific competencies is not Each outcome, be it one of the overarching and highly general Critical Outcomes or one ofthe more specific outcomes for the learning area, has to be 'unpacked' so that what it demands ofthe teacher may be comprehensively revealed and articulated. An attempt to profile a music educator in this context logically begins with these general competencies. They provide the basic template for developing profiles of educators in any and allleaming areas and sub-fields. Inferring specific teaching qualities and competencies in a specific learning area involves being informed by a broad and critical knowledge of pedagogical developments in the specific learning area that are consistent with OBE precepts. OBE, in various ways and to varying degrees, informs recent curricular developments in many countries and account must be taken of the more salient of these, in developing a profile for an Intermediate Phase music educator in South Africa. Thus, a crucial and important task for this study is to synthesize from current readings and dialogues, criteria according to which the intended profile can be credibly developed. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2004.

This essay has two primary purposes: (1) to make a case for jazz education and (2) to suggest ways in which jazz education can more prominently and profitably feature in post-Apartheid South African education. Justifying jazz education and determining how it can best fit into South African education both require a clear conception of what jazz education is in its various forms. Thus, the essay begins by attempting a holistic definition of jazz education as education in, about, and through jazz followed by a systematic consideration of the many and varied educational outcomes jazz education is capable of achieving. Thereafter, an overview is presented of jazz education as it presently exists in South Africa. Employing criteria derived from the essay's discussions, South African jazz education is evaluated and suggestions are made for how it can be further developed. / Thesis (M.Mus.)-University of Natal, Durban, 2001.

In South Africa, both the paradigm for music education and the music syllabus need to change: music teachers need to correct and compensate for the consequences of the Apartheid system of the past, and they need to meet the challenges of the outcomes based model of Curriculum 2005, which has been accepted by the National Education Department as the plan which will be followed in the future. This dissertation attempts to contribute to the implementation of Curriculum 2005 by making a case study of a successful student band, Amethyst, all of whose members were almost entirely self taught in music. After identifying what the members of Amethyst learned and how they learned it, the work finds ways of applying the findings from the case study to the teaching of music in the Further Education and Training phase of Curriculum 2005. The case study is contextualised by a consideration of the salient characteristics of outcomes-based education as embodied in Curriculum 2005 and by including discussion of similarities between the way learning took place in Amethyst and the informal learning of music that takes place in African and Indian communities within South Africa. These similarities in learning methods are ones that fit well with the perspectives propagated by outcomes-based education. Practical suggestions for the classroom take cognizance of the intercultural ideals of Curriculum 2005, and these suggestions are presented within a framework based on the critical cross-field outcomes and specific outcomes identified in this curriculum. The matters of evaluation and assessment, as well as the content of learning programs are also addressed. This dissertation is based on qualitative research methods, including interviews with the band members, their parents, some students who were well acquainted with the band, and two educationists with specialised knowledge concerning the new OBE system. The case study also includes an exploration of the reasons for the boys choosing to teach themselves even though music was available as a subject in their school , an exploration which confirmed that the current music education system has become outdated. / Thesis (M.Mus.)-University of Natal, Durban, 1998.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1999.

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 and 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)

M.Ed. (Media Studies) / Please refer to full text to view abstract

Why teach music? To answer this question one has to be able to see the full value of musical education. One has to recognize its effect on the unfolding of character and personality on the one hand and, on the other, its value for the development and sharpening of the intellect. In ancient Greece, the cradle of Western culture, the significance of music for man, the people, and the state was frequently emphasized. The Greeks regarded music almost as a magic force, the inherent harmony of which was capable of transforming things and creating order by reconciling contrarieties. Similarly they believed that the power of music could restore the harmony in man's soul. Intro., p.1.

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted