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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)

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.

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)

The reasons given by thirty-three junior high school band directors for success and failure at the University Interscholastic League Concert/Sightreading Contest were studied using the methodology of Attribution Theory. All of the subjects attended the same contest and were members of a region which included urban and suburban schools. The subjects responded to a questionnaire which evaluated their attitudes towards the contest, allowed them to make judgments about other directors in hypothetical contest situations, and finally asked them to list the five most important reasons for their success or failure at the contest in an open-response format.

This research examines the efficacy, if any, of the Music and Visual Arts (MVA) program in improving the English vocabulary development of first grade Thai students. The researcher developed the Vocabulary Recognition Assessment (VRA) as a measure of English vocabulary development. It employs the accuracy and rapidity method of word recognition as a measurement of English language development in Thai children. Forty first grade Thai students in a Bangkok elementary school participated in the study. Participants were divided equally between an experimental group and a control group. During a nine-week period, students in the experimental group were instructed with the MVA strategy, while students in the control group were taught with the Visual Arts (VA) strategy. Paired sample t-test, ANOVA, and ANCOVA were used to analyze data from the VRA, to compare the pre-test and the post-test in terms of accuracy scores and rapidity scores of the control group and the experimental group. Data revealed that students instructed with the MVA strategy improved their English vocabulary development in terms of accuracy of word recognition significantly more than students taught English using the VA strategy. No significant difference was found between the MVA strategy and the VA strategy in terms of rapidity of word recognition. The MVA strategy could be a useful strategy for Thai early childhood teachers to use in helping Thai children learn English vocabulary.

The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.

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.

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 study focuses on the teaching of Indigenous African Music (IAM) in Zimbabwean primary schools, and proposes a new Experiential Open Class Pedagogy relevant to its multicultural contexts. A postcolonial theoretical paradigm informs the discussion of secondary literature, and the analysis of empirical data obtained through the following methods: interviews, lesson observations, focus group discussions, and the analysis of teaching documents. Case studies were conducted at ten schools in the Gweru district of Zimbabwe. These schools were chosen from a mix of urban, peri-urban, and rural communities. The findings show the continued effects of colonialism on IAM teaching practices and pedagogy. The effects of globalization and the high levels of migrancy in and out of Zimbabwe are discussed as factors shaping the teaching of IAM. Formal models of learning have undermined the status of IAM in favour of Western classical music. Recognizing this bias, but also the fact that culture is dynamic, this study strikes a balance by proposing a new pedagogy that integrates Western and African approaches to music education. The study findings feed into the development of a new hybridised model called the Experiential Open Class Pedagogy (EOCP), which is suitable for multicultural contexts. This pedagogy encourages learners to use their personal experience of IAM practices in the home, and to draw on expertise from their local communities. The participation of children and their elders in the community contributes to the openness of the learning process. A combination of learning at home, in communities, and in classrooms is vital in utilising all the critical avenues to acquiring knowledge and experience of IAM. Recommendations on policy and practice in Zimbabwean primary school education offer solutions to the present challenges. It is important for teachers to be active stakeholders in documenting the very IAM practices they teach by carrying out research, and through continuous improvement initiatives in multicultural contexts. / Art History, Visual Arts and Musicology / D. Phil. (Music)