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.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner. / AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.

Thesis (MMus)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Community Music is a vibrant and growing field within the South African context and exists across various practices and settings. Community Music Programs in the Western Cape and more specifically the greater Cape Town area, are on the rise and often serve as outreach and educational initiatives to uplift participants from previously and currently disadvantaged communities by engaging in various musical activities. Though many Community Music Programs start successfully they fail to be sustainable due to various factors which are often never documented. Programs which include more formal aspects of music education such as those that function as Community Music Schools, experience unique successes and challenges that serve as factors which contribute towards their sustainability. Two Community Music Programs whose roots were established in outreach and whose goals also include that of providing quality music education are the Athlone Academy of Music and the Western Cape Music Education Project, which serve as case studies for this thesis. Both programs have evolved from outreach projects to currently serving as Community Music Schools within their respective areas of Athlone and Kuils River and have proven to be major contributors to the landscape of music education in the greater Cape Town area. Their contribution stems not only from their continued existence for almost two decades and their output of successful current and past students, but they also provide researchers with opportunities to document aspects of Community Music within the South African context. The Athlone Academy of Music and the Western Cape Music Education Project, in existence for twenty and eighteen years respectively, have witnessed significant changes to their infrastructure, management, and funding since the last studies conducted on them in 2009, and have continued to exist in a competitive funding environment which constantly poses a threat to their sustainability. Although both programs are faced with distinct funding shortages, their continued existence has shown that factors that contribute towards sustainability may not be related to funding. This study documents the current situation of both case studies, describing their challenges and successes from the viewpoint of key stakeholders. To achieve the objective of this research, qualitative methods of data collection were used and included semi-structured interviews, field notes and observations. The study established that there are multiple factors that influence the sustainability of the two Community Music Schools. Another important result is that this study provides documentation on the evolution of two established Community Music Schools as well as information vital to gaining a better understanding of the successes and challenges of such programs and their links to factors of sustainability. The results of this study provide opportunities for further areas of research regarding Community Music in the South African context. Keywords: Sustainability, Interaction, Community Music, Community Music School, funding, successes, challenges, project leaders, teachers, partnerships. Stellenbosch University https://scholar.sun.ac.za / Gemeenskapsmusiek is ‘n florerende en ontwikkelende veld binne die Suid-Afrikaanse konteks en strek oor verskeie praktyke en omgewings. GMPe in die Wes-Kaap, en meer spesifiek die groter Kaapstad-gebied, is besig om op die voorgrond te tree en dien telkens as uitreikings- en opvoedkundige inisiatiewe om diegene van voorheen en tans benadeelde gemeenskappe deur middel van betrokkenheid in verskeie musiekaktiwiteite, op te hef. Alhoewel talle GMPe aanvanklik suksesvol is, is die sukses onvolhoubaar weens verskeie faktore wat dikwels nie gedokumenteer is nie. Programme wat meer formele aspekte van musiekopvoedkunde insluit, soos programme wat as GMSe funksioneer, ondervind unieke suksesse en uitdagings wat as faktore wat tot hul volhoubaarheid bydra. Twee GMPe wie se ontstaan in uitreiking gegrond is, en wie se doelwitte ook die voorsiening van gehalte musiekopvoedkunde insluit, is die Athlone Academy of Music en die Western Cape Music Education Project, wat as gevallestudies vir hierdie tesis dien. Beide programme het vanuit uitreikingsprojekte ontwikkel en dien tans as GMSe binne hul onderskeie gebiede van Athlone en Kuilsrivier en het sodoende 'n groot bydrae tot die landskap van musiekopvoedkunde in die breër Kaapstad-gebied verskaf. Hierdie bydrae spruit nie slegs uit hul voortbestaan van byna twee dekades, asook die sukses van hul oud - en huidige studente nie, maar hulle bied ook aan navorsers die geleentheid om GM binne die SA konteks aante teken. Die Athlone Academy of Music en die Western Cape Music Education Project, in bestaan vir twintig en agtien jaar onderskeidelik, het sedert die laaste studies wat in 2009 behartig is, belangrike veranderinge tot hul infrastruktuur, bestuur en befondsing ondergaan, en het te midde van 'n mededingende omgewing in terme van befondsing, wat voortdurend 'n bedreiging vir hul volhoubaarheid inhou, voortbestaan. Alhoewel beide programme met onmiskenbare gebrek aan befondsing gekonfronteer word, dien hul voortbestaan as bewyse dat die faktore wat tot hul volhoubaarheid bydra ook nie noodwendig met befondsing verband hou nie. Hierdie studie dokumenteer die huidige situasie van beide gevallestudies waarin hul uitdagings en suksesse vanuit die oogpunt van die belanghebbendes beskryf word. Om die doel van hierdie navorsing te bereik is kwalitatiewe metodes van data-insameling gebruik wat semi-gestruktureerde onderhoude, veldnotas en waarneming ingesluit het. Deur van hierdie metode gebruik te maak het die studie vasgestel dat verskeie faktore die volhoubaarheid van die twee GMSe kan beïnvloed. Nog 'n belangrike uitkoms van die navorsing is dat hierdie studie dokumentasie omtrent die ontwikkelingsgang van die twee GMSe verskaf, asook inligting noodsaaklik tot 'n beter begrip van die suksesse en uitdagings van soortgelyke programme en hul verbintenis tot volhoubaarheidsfaktore. Die uitkoms van hierdie studie verskaf geleenthede vir verdere areas van navorsing ten opsigte van GM binne die Suid-Afrikaanse konteks. Sleutelwoorde: Volhoubaarheid, Interaksie, Gemeenskapsmusiek, Gemeenskaps-musiekskool, bevondsing, suksesse, uitdagings, projekleiers, onderwysers, vennootskappe Stellenbosch University https://scholar.sun.ac.za

The present study was designed for the purpose of comparing the effectiveness of two methods of orchestral programming, demonstration and non-demonstration, upon (1) the musical perception of the members of a student body audience, and (2) the attitudes of the members of a student body toward orchestra as a school subject. This comparison of demonstration and non-demonstration programming involved the question concerning the effectiveness of instructive listening as compared with free listening in the development of musical perception and attitudes. The problem of the present study is presented in the following major areas: (1) musical perception, end (2) attitudes.

The study was concerned with physical, mental and musical characteristics of selected band members. Certain purposes of the study were defined. They were 1. To determine if physical, mental and musical differences existed between sections of the high school band. 2. To determine if these differences were existent at three grade-level groupings of high school and college band members.

This study's purpose was to investigate the differences in scores and written comments given by two appraisal groups in their evaluation of a music teacher using the Texas Teacher Appraisal System (TTAS). One appraiser group had musical training while the other group specialized in other subjects. Analyses of both group's appraisal scores showed no significant differences. An examination of the written comments revealed that both appraisal groups focused on the same aspects of the lesson and used similar vocabulary. The TTAS instrument was a consistent measure of generic teacher behaviors in the music lesson, but it did not measure specific music teaching behaviors or encourage suggestions for improving musical instruction.

This study explored factors relating to participation in public school orchestra programs and the relationship and predictability of such factors in accordance with Maehr's theory of personal investment.

This study investigated the effect familiarity with a teacher had on student interpretations of teacher verbal praise in seventh and eighth grade choral ensembles. A stimulus tape was constructed of 16, 30-second videotaped clips containing verbal praise of four teachers. Teachers identified their intent in the use of praise in each example. Students (n = 80) from the four choirs responded to the tape by labeling the praise in each clip as deserved or as one of three types of instructional praise (i.e., praise to encourage, to send a message to other students, or to seek student cooperation). Comparisons were made between choirs in labeling the praise. Comparisons were made also between each teacher's stated purpose in praising and the interpretations of choirs familiar and unfamiliar with the teacher. Choirs who were unfamiliar with the teacher differed from the teachers' own students in interpreting the praise: Students who knew a teacher labeled the praise as deserved in five clips, but unfamiliar choirs thought the praise served an instructional purpose. In four clips, choirs differed in their interpretations of the type of instructional praise. Students familiar with a teacher recognized their teacher's intent in praising in 12 of 16 clips. In some situations, familiarity with a teacher and context made a difference in detecting the teacher's purpose for praising. In five clips where teachers identified the praise as deserved, students unfamiliar with the teacher and context thought the praise was intended to encourage students. Students across choirs were particularly sensitive to a teacher's use of praise to send a message to other students. Students are keen observers of teacher praise. Findings suggest students discriminate between praise directed at the performance and praise used for instructional purposes, suggesting that observation instruments that rely on a single label for praise might miss important information. Findings support the importance of determining how teachers intend praise to serve and how students interpret the behavior.

The purpose of this study was to examine the effects of music training on electroencephalographic (EEG) coherence of preschool children. EEG coherence is a measurement of brain wave activity that reflects anatomical and neurophysiological parameters and functional connectivity between areas of the brain. Participants were 4- to 6-year-old children divided into two groups: one received music training for 20 minutes twice a week for 10 weeks while the other group served as controls. Nineteen channels of EEG data were collected from each child pre- and post-training. Data were collected from three conditions: eyes-open resting, listening to music, and performing the Object Assembly subtest of the Weschler Preschool and Primary Scale of Intelligence - Revised (1989). The hypothesis was that the music training group would show increased EEG coherence as compared to controls. The EEG data was reduced into seven bandwidths and analyzed separately for each condition. Multiple ANCOVAs were used to factor out pre-test variability and to maximize connectivity changes between the two groups. The dependent measures were the post-QEEG electrode pairs and the covariates were the pre-QEEG electrode pairs. Results indicated the eyes-open and listening to music conditions showed more significant changes between the groups than the Object Assembly condition. Overall, each condition showed increased connectivity for the music training group versus controls. The eyes-open condition differentiated children with and without music training during a resting condition, and showed similar patterns as those identified by other researchers comparing musicians versus nonmusicians. The listening to music condition identified connections including a topographical pattern of auditory analysis, increased working memory activation, increased activity between musically sensitive areas, and increased interhemispheric activity. Findings with the Object Assembly condition were not as robust as expected. However, patterns of increased connectivity associated with visuospatial processing were found with the music training group.