Text in English / The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase. / Linguistics and Modern Languages / D. Phil. (Languages, Linguistics and Literature)

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)

In the past decade, education has undergone fundamental changes, such as the simultaneous implementation of Outcomes-based Education and Inclusive Education. A study of different sources has led me to realise that many teachers lack the skills needed to cope with a diversity of learners in their classrooms, which results directly and indirectly in a drop in teacher morale, which in turn causes emotional problems like stress and a lack of motivation. This has a spill-over effect on the learners in their classes, who have no role model for their emotional development and often have weak results. I argued that proof exists that music can alleviate stress, while creative skills can help teachers to better cope with their emotions and develop more effective problem-solving skills, which will help them to attain emotional stability and better academic results in the inclusive classroom. The purpose of the study was to determine how to design an effective continuous learning programme for distance education. The purpose of the programme is to train teachers to use music creatively to support learners experiencing learning difficulties. The information obtained by means of a literature study was used to develop the first draft of the programme, Music for All. After the first draft of the programme had been developed, the skills of experts in the fields of creativity, music and materials development in open and distance learning were utilised to evaluate the programme. This was done by applying the principles of the Delphi Method to ensure a sound theoretical and practical base for the course. A summary of the aspects that should be considered when developing such a programme (as identified during the literature study and through the evaluation by experts) was put forward and it was concluded that the knowledge and experience of the experts greatly enhanced the practical value of the programme. / Educational Studies / D.Ed. (Inclusive Education)

South African teacher education is confronted by educational problems of a vast magnitude and complexity. In view of students' needs, society's expectations and improvement of teaching, problems need to be critically investigated. In order for the subject didactics curriculum to meet these needs and demands, a critical analysis was done of the current music syllabus (1991) for teacher training colleges in Venda. Against the background of the structure and components of didactics, subject didactics in general and of music in particular, criteria were formulated for the analysis. As a result of the analysis deficiencies such as the lack of suitable aims and objectives, content with a Eurocentric emphasis disregarding African music, a lack of teaching methods which could be applied in the classroom, etc., were discovered. In conclusion, recommendations and guidelines were formulated in order to address these problems. / Educational Studies / M. Ed. (Didactics)

In the past decade, education has undergone fundamental changes, such as the simultaneous implementation of Outcomes-based Education and Inclusive Education. A study of different sources has led me to realise that many teachers lack the skills needed to cope with a diversity of learners in their classrooms, which results directly and indirectly in a drop in teacher morale, which in turn causes emotional problems like stress and a lack of motivation. This has a spill-over effect on the learners in their classes, who have no role model for their emotional development and often have weak results. I argued that proof exists that music can alleviate stress, while creative skills can help teachers to better cope with their emotions and develop more effective problem-solving skills, which will help them to attain emotional stability and better academic results in the inclusive classroom. The purpose of the study was to determine how to design an effective continuous learning programme for distance education. The purpose of the programme is to train teachers to use music creatively to support learners experiencing learning difficulties. The information obtained by means of a literature study was used to develop the first draft of the programme, Music for All. After the first draft of the programme had been developed, the skills of experts in the fields of creativity, music and materials development in open and distance learning were utilised to evaluate the programme. This was done by applying the principles of the Delphi Method to ensure a sound theoretical and practical base for the course. A summary of the aspects that should be considered when developing such a programme (as identified during the literature study and through the evaluation by experts) was put forward and it was concluded that the knowledge and experience of the experts greatly enhanced the practical value of the programme. / Educational Studies / D.Ed. (Inclusive Education)

South African teacher education is confronted by educational problems of a vast magnitude and complexity. In view of students' needs, society's expectations and improvement of teaching, problems need to be critically investigated. In order for the subject didactics curriculum to meet these needs and demands, a critical analysis was done of the current music syllabus (1991) for teacher training colleges in Venda. Against the background of the structure and components of didactics, subject didactics in general and of music in particular, criteria were formulated for the analysis. As a result of the analysis deficiencies such as the lack of suitable aims and objectives, content with a Eurocentric emphasis disregarding African music, a lack of teaching methods which could be applied in the classroom, etc., were discovered. In conclusion, recommendations and guidelines were formulated in order to address these problems. / Educational Studies / M. Ed. (Didactics)

Text in Afrikaans / Hierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le. / This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective. / Art History, Visual Arts & Musicology / M. Mus.

Text in Afrikaans / Summaries in Afrikaans and English / The supposition exists that the Transvaal Education Department's Senior Primary Class Music syllabus is not being implemented in all aspects and that this is connected to teacher training. An empirical investigation was launched using three questionnaires and a classroom field study. Two questionnaires, completed by Class Music teachers, were used to assess to what extent the school syllabus was being followed. Teachers also had to provide information about their training in Class Music teaching. The third questionnaire offered a structured interview with school principals. The actualisation of Class Music, extra curricular music activities, the role of the teacher and teacher training were examined. Lessons for standard two pupils at twenty schools, were presented for an in-depth investigation. The results were tabulated, summarised in bar graphs and interpretations rendered. According to the findings, recommendations with regard to curriculum, the implementation of the syllabus, and tertiary Class Music training were made. / Daar is vermoed dat die seniorprimere Klasmusieksillabus van die Transvaalse Onderwysdepartement gedeeltelik gelmplementeer word en dat df t verband hou met onderwysersopleiding. In die lig hiervan is 'n empiriese ondersoek geloods deur middel van drie vraelyste en deur veldwerk. In die twee vraelyste wat deur Klasmusiekonderwysers voltooi is, is nagevors in watter mate die skoolsillabus gelmplementeer word. Verder het die onderwysers hulle Klasmusiekopleiding in hierdie verband aangetoon. Die derde vraelys vorm die raamwerk vir 'n gestruktureerde onderhoud met skoolhoofde. Die realisering van Klasmusiek, buite-kurrikulere musiekaktiwiteit en die rol van die onderwyser en onderwysopleiding is nagegaan. In 'n diepte-ondersoek is lesse by twintig skole vir standerdtweeleerlinge aangebied. Die resultate word in tabelle uiteengesit en in staafdiagramme saamgevat, terwyl waarnemings weergegee word. Op grondhiervan word aanbevelings gemaak oor kurrikulering, sillabusimplementering en tersiere Klasmusiekopleiding. / Art History, Visual Arts & Musicology / M.Mus

Thesis (M.Mus.)--University of Stellenbosch, 2007. / ENGLISH ABSTRACT: The research for this thesis is presented in the form of a practical guideline for parents and educators in the Western Cape area. The important role of music in early childhood is emphasised throughout. Research, guidance and practical activities for the music education and development of the toddler and preschooler, are presented. The author answers and discusses the questions frequently asked by parents concerning musical education for their children, namely why, when and how, in the five chapters of the thesis. The importance of music education for children (the question concerning why) is discussed and emphasised by means of eleven different reasons supported by research. In Chapter 2, the important role of the parent as the child’s first music educator and prenatal stimulation is discussed (the question concerning when). In the two chapters that follow, the author provides parents with information about basic music concepts and skills that children should be able to master at specific ages. Throughout these chapters, practical activities to illustrate these concepts and to practise the relevant skills are suggested (the how question). Guidelines are presented concerning how play with the child should be approached and handled, as well as guidelines for the child’s first formal instrumental teaching and for choosing an instrument and a music teacher. The research is concluded with a practical section containing extensive lists of songs (in categories), CDs, DVDs, books and web addresses for the use of parents needing resources and further guidance. / AFRIKAANSE OPSOMMING: Die navorsing vir hierdie tesis word in die vorm van ‘n praktiese handleiding vir ouers en opvoeders in die Wes-Kaap provinsie aangebied. Die belangrike rol van musiek in die voorskoolse kind se lewe word deurgaans beklemtoon. Navorsing, riglyne en praktiese aktiwiteite vir die musiekopvoeding en ontwikkeling van die voorskoolse kindword, word prakties aangebied en bespreek.Die outeur beantwoord en bespreek die vernaamste vrae wat ouers ten opsigte van musiekopvoeding vir hul kinders vra, naamlik hoekom, wanneer en hoe, in die vyf hoofstukke van die tesis. Die belangrikheid van musiekopvoeding vir kinders (die hoekom vraag) word aan die hand van elf verskillende redes en wat deur navorsing ondersteun word, bespreek. Die belangrike rol van die ouer as eerste musiekopvoeder en prenatale stimulasie word in Hoofstuk 2 bespreek (die vraag aangaande wanneer). In die twee daaropvolgende hoofstukke bied die outeur verdere inligting aan ouers oor basiese musiekkonsepte en vaardighede wat kinders op sekere ouderdomme moet kan bemeester. Praktiese aktiwiteite om hierdie konsepte te illustreer en die verlangde vaardighede te oefen (die hoe vraag) word deurgaans voorgestel. Riglyne word gegee oor hoe spel met die kind benader en hanteer moet word, asook riglyne vir die kind se eerste formele instrumentale onderrig, die keuse van ‘n instrument en van ‘n musiekonderwyser. Die navorsing word afgesluit met ‘n praktiese afdeling waarin uitgebreide lyste van liedjies (volgens verskillende kategorieë), beskikbare CD-opnames, DVD-opnames, boeke en webadresse vir ouers gegee word as bronne en as verdere riglyne.

This study records the history and activities of the South African Society of Music Teachers (SASMT) from its founding in 1922 until 2015, concentrating on the contribution it has made to music education in South Africa and the extent to which it has adapted to changing socio-political circumstances. Within the context of South African history and its education system, a study of the SASMT's Constitution, journal and other archival material was undertaken. The SASMT's reaction to changing trends in music education, including multiculturalism and the praxial philosophy, was contrasted with the activities of the South African Music Educators' Society (SAMES) and comparable overseas organisations. The mission and activities of ISME and PASMAE were used as a yardstick for determining the extent to which the SASMT fulfills the music educational needs of post-apartheid South Africa. Initially the SASMT provided a link between Europe and South Africa, focusing almost exclusively on Western Art Music. With an arguably colonial-based outlook, the organisation helped to unite music teachers by means of various projects and activities, as well as through its magazine and by forming a strong relationship with the overseas examining bodies and Unisa. Throughout its history, the SASMT has grappled with determining exactly what aspects of music education it represents, and consequently who should be admitted to membership. This became particularly pertinent in the 1980s with the formation of the South African Music Educators' Society, which highlighted the need for a more open organisation in the context of the fragmented education system of the times. The SASMT has a long, stable history, with a network of centres and institutional members, and in the late 1990s was appointed as the National Affiliate of ISME. Currently the SASMT is characterised by reduced participation in its activities and a membership that does not adequately reflect South Africa's demographics. The study concludes with recommendations as to how the SASMT might transform its vision to serve fully the needs of South African music education. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)