Music’s significant contribution to the holistic development of the young learner is uncontested and confirmed by views of seminal scholars, such as Nzewi 2003, Reimer 2003, Nussbaum 2001, Elliot 1994 and Merriam 1964, amongst others. As such, music education supports basic values of self-growth, self-knowledge and enjoyment. This study argues for the vital importance of music education in Grade R in the South African schooling system where teachers can successfully implement the curriculum. In post-apartheid multicultural and multi-musical South Africa music education in Grade R is the sole responsibility of the generalist Grade R teacher. However, due to inadequate training and minimal, unproductive in-service initiatives, the vast majority of Reception Year teachers assumingly do not have the required competences to teach music in a way that maximally enhances the holistic development of their learners. Findings revealed that teachers exhibited limited, if any, musical knowledge and per se, they are insufficiently skilled in the effective delivery of the curriculum in terms of music. This study acknowledges the need to equip in-service Grade R teachers with the required competences to effectively implement the national school and teach music with confidence. The lack of successful and effective continuing professional teacher development initiatives from the Department of Education and Department of Basic Education to assist Grade R teachers in teaching music, was a serious concern to me. This concern reinforced the motivation to embark on this project. In this thesis, I report on an intervention strategy aimed at enabling three Grade R practitioners at one peri- urban township school in the Eastern Cape to improve their music education competencies. These three Coloured ladies only held a Certificate in Early Childhood Development, rating at an NQF level 4 and 5. None of these practitioners had any prior music experience in music training, music making or music teaching. I utilised a Participatory Action Learning and Action Research (PALAR). PALAR combines research with development and is thus highly suitable when addressing multifaceted problems in rapidly changing environments, such as South Africa. In my study, the participants were thus actively involved in identifying problems and creating solutions. A number of collaborative interactions and qualitative data generation strategies such as Focus Group Interviews, Observations, Drawing, Interviews, Narrative Inquiry, Case Study and Reflective Journals were implemented. Findings indicated that the practitioners experienced transformation on both a professional and personal level as they discovered and tapped into their own innate musical competences. This enabled them to explore ways to teach music that enhanced the holistic development of their learners, developing them physically, cognitively emotionally, socially, and musically. Learners likewise benefitted from the intervention as they experienced social cohesion in a multicultural classroom and gained the fruits of music’s remedial impact and therapeutic value in their lives.

Thesis (PhD)-- Stellenbosch University, 1985. / Includes bibliography / INLEIDING: Daar is nog nie veel navorsing ten opsigte van musiekopvoeding en -onderwys, soos dit in die Suid-Afrikaanse situasie van toepassing is, voltooi nie. Name wat in hierdie verband wel vermelding verdien, is o.a. Jan Bouws, Theodore C. de Villiers, Anna C.M. Fick, Philip McLachlan, Rachel E. Pienaar, Petrus Roos, Gertruida M. Steyn, Anna G.J. van Wyk en Arthur Wegelin. Die terrein sover dit Kaapland betref, is ook nog nie deeglik verken nie, hoewel waardevolle werk deur Mej. Acàma Fick van die Universiteit Stellenbosch gedoen is ten opsigte van die geskiedenis van skoolsang in Kaaplandse skole tot 1915, die afsluiting van die Muirtydperk. Gevolglik is 1916 gekies as die aansluitingsjaar vir hierdie studie oor die ontwikkeling van musiekopvoeding onder die Kaaplandse Onderwysdepartement (K.O.D.). Ten einde 'n hydrae tot die moontlike verdere ontwikkelinge op hierdie gebied te kan lewer, is ook besluit om die studie tot 1984 deur te trek.

D.Ed. (Media Studies) / In-Service Class Music Training and relevant programming is addressed in this research. The Class Music requirements in die Junior Primary phase were established by the present researcher in her M.Ed. investigation (1986). The target group involved were Grade 1 teachers who had no or inadequate Class Music training and who had to be responsible for their own music presentation.

From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.

The study of music has long been seen as élitist in South African education, a ‘talent’ subject rather than an academic one. The country’s political history has played a significant role in this perception. Under the apartheid government, education in the arts was considered appropriate only for gifted, mostly white, students and a grossly inequitable distribution of resources placed the study of music beyond the reach of most students. The ANC government has declared educational reform a priority, but faces enormous challenges in redressing inequities of the past. This study examines the relevance and academic rigour of music curricula past and present, in the light of political influences; and the challenges that face schools and education departments in sustaining growth and development of music as an academic subject, accessible to all at senior secondary school level. / Music / M. Mus.

Thesis (M.Mus)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Since its inception, educators across the board in South Africa have struggled to implement the new curriculum. Initial problems with terminology and availability of learning materials have been addressed, but still the resistance to Outcomes Based Education (0BE) and Curriculum 2005 (C2005) continues. Some of the reasons for the resistance point to feelings of disempowerment experienced by generalist and specialist educators who now have to teach the new Learning Area Arts and Culture. This has been attributed to, amongst others, a lack of training, resulting in feelings of inadequacy, inappropriate training for large multicultural classes and the lack of teaching resources. Another reason for the resistance has been described as a resistance to change. Many educators have found it difficult to make the paradigm shift from the previous educational system to OBE and C2005. The aim of the study is to research and explore ways of empowering educators to teach Arts and Culture. The new educational system is geared to redressing the imbalances of the past and giving more expression to the diversity of cultures represented in South African schools. Whereas the previous system was founded on exclusively Eurocentric ideology, principles and values, the new system aims at a more inclusive Afrocentric approach. However, criticisms leveled at C2005 have suggested that it is still basically Western in terms of values, terminology and methodology. This study is therefore aimed at investigating a culturally diverse music/arts curriculum, which draws on the wealth of resources, methods and modes readily accessible in South Africa. A comprehensive literature review guides the study towards a greater understanding of how cultural identities are formed out of a need to belong and how important recognition is to individuals and groups, particularly in terms of their diverse cultural expressions. Music and the arts are understood as being vitally important channels for expression of this diversity. Yet, true to the Afrocentric principle of holism, unity is found in diversity. As much common ground exists between an integrated approach and an Afrocentric approach to music/arts education, these principles are explored to determine whether they can be adapted for use in contemporary South African classrooms. An integrated project mode, which provides a balance between the specific knowledge contexts of the various Learning Areas and collaborative learning aimed at developing the natural links between learning areas to create a vibrant whole, is suggested. The researcher conducted an integrated project at her school with the common theme of "District Six" linking four Learning Areas and their components. Participatory action research using qualitative methods such as questionnaires were used to determine the feasibility of an integrated project mode of learning as a means of empowering educators to teach Arts and Culture. Subsequently recommendations were made regarding implementation. / AFRIKAANSE OPSOMMING: Sedert die instelling van die nuwe kurrikulum in Suid-Afrika het opvoeders gesukkel om dit te implementeer. Die aanvanklike probleme met terminologie en die gebrek aan geskikte bronne is aangespreek, maar die weerstand het nie verminder nie. Van die redes hiervoor verwys na gevoelens van ontmagtiging onder algemene en gespesialiseerde opvoeders wat die nuwe leergebied van Kuns en Kultuur moes aanbied. Die weerstand word toegeskryf aan, onder andere, gevoelens van ontoereikendheid, onvanpaste opleiding om met groot multi-kulturele klasse te werk en 'n gebrek aan onderrigbronne. 'n Ander rede is beskryf as teëstand teen verandering. Baie opvoeders het dit moeilik gevind om die paradigma-skuif te maak vanaf die vorige stelsel na Uitkoms Gebaseerde Onderwys (UG0) en Kurrikulum 2005 (K2005). Die doel van die studie is dus om navorsing te doen en ondersoek in te stel na maniere waarop opvoeders bemagtig kan word om Kuns en Kultuur aan te bied. Die nuwe opvoedingstelsel is gefokus op regstelling van die onewewigtighede van die verlede en op 'n groter uitdrukking van die kulturele diversiteit wat in Suid-Afrikaanse skole verteenwoordig is. Terwyl die vorige stelsel gebaseer was op 'n Eurosentriese ideologie, beginsels en waardes, is die nuwe gefokus op 'n Afrosentriese benadering. Tog is daar kritiek teen Kurrikulum 2005 juis omdat dit nog altyd gebaseer is op Westerse waardes, terminologie en metodes. Die studie gaan dus oor 'n kurrikulum vir musiek en die kunste wat inspirasie put uit die rykdom van Suid-Afrikaanse bronne, metodes en modusse. 'n Omvattende literatuur oorsig voer die studie tot die begrip dat kulturele identiteit gevorm word uit 'n behoefte om te behoort en deel te wees, hoe belangrik erkenning van individue en groepe is, veral om hul diverse kulturele identiteit uit te druk. Eie aan die Afrosenstriese beginsel van holisme kan eenheid binne diversiteit gevind word. Omdat daar baie gemeenskaplikheid bestaan tussen 'n geïntegreerde en 'n Afrosentriese benadering tot musiek/kuns opvoeding, word die beginsels verken om te bepaal of dit aangepas kon word vir gebruik in hedendaagse Suid- Afrikaanse klaskamers. 'n Geïntegreerde projek-modus word voorgestel, wat 'n balans skep tussen die spesifieke kontekste van kennis in verskeie Leerareas en koöperatiewe leer wat daarop gemik is om die natuurlike skakels tussen die verskillende Leerareas te ontwikkel sodat 'n groter geheel geskep word. Die navorser het by haar skool 'n geïntegreerde projek oor Distrik Ses geloods wat vier leergebiede, insluitend hul komponente, ingetrek het. Deelnemende aksie-navorsing soos vraelyste is gebruik om die uitvoerbaarheid van die geïntegreerde projek-metode te bepaal as 'n metode om opvoeders te bemagtig om Kuns en Kultuur by skole aan te bied. Dit sluit af met voorstelle wat gemaak is in verband met die implementering van die nuwe Kurrikulum.

M. Tech. Architecture (Professional) / South Africa has some way to go before it catches up to developed countries in terms of musical education and production. Since musical skills are expensive to develop, and not currently taught at school level, a lack of funding results in many impoverished individuals missing out on the opportunity to develop musical skills that could ultimately bring about multiple career opportunities. This dissertation involves the design of a music centre on the periphery of Sunnyside, for surrounding school pupils and local youths. The centre will function as a musical education facility and public meeting space, in an urban district. The development of this new facility would hopefully act as a catalyst for the rejuvenation of the pedestrian walkway next to the Walker Spruit; by integrating and redesigning the green space next to the proposed site

Thesis (MTech. degree in Architecture (Professional Design)--Tshwane University of Technology, 2009. / The aim of this thesis is to design a music school [in Tshwane, South Africa] that will contribute to the development of our rich and vibrant music culture, which will furthermore assist in the promotion of the often unrecognized and struggling music industry as a major player in the South African economy. The building will contain practice and recording studios, together with classrooms for teaching music as well as performing spaces and administration facilities. The design attempts to introduce the building as a fully integrated element in the urban fabric and social infrastructure of the city so as to promote music and the performing arts to the broader public and help to redefine this precinct as the cultural heart of the inner city.

The study of music has long been seen as élitist in South African education, a ‘talent’ subject rather than an academic one. The country’s political history has played a significant role in this perception. Under the apartheid government, education in the arts was considered appropriate only for gifted, mostly white, students and a grossly inequitable distribution of resources placed the study of music beyond the reach of most students. The ANC government has declared educational reform a priority, but faces enormous challenges in redressing inequities of the past. This study examines the relevance and academic rigour of music curricula past and present, in the light of political influences; and the challenges that face schools and education departments in sustaining growth and development of music as an academic subject, accessible to all at senior secondary school level. / Music / M. Mus.

This research study reports on the effectiveness of older methodologies with regard to teaching purposes for the classical guitar. The following Methods were discussed : F Sor : Methode pour la Guitare; D Aguado : Nuevo Metodo para Guitarra; A Segovia, as written by V Bobri : The Segovia Technique. These Methods were evaluated and compared with current guitar techniques as applied by Pujol, Artzt, Carlevaro, Duarte, Duncan, Shearer, Parkening, Sagreras, and the opinions of Brouwer, Aussel and Barrueco were also taken into consideration. The following technical aspects were analysed : posture; the Tripod; right· and left·hand techniques; fingering and scales; quality of tone and right-hand stroke : apoyando, tirando and ornamentation, as applied by Sor, Aguado and Segovia; and Sor's opinion of transcriptions. The Methods for the vihuela, the four· and five-course guitar, and the efforts of the eighteenth and nineteenth century were briefly discussed, such as : Milan; Narvaez; Pisador; Mudarra / M. Mus. (Musicology)