This short dissertation presents a case study of eleven students from a typical former 'Model C' single sex high school in Durban South Africa. At the time of the study, 2006, these were the only students who were actively availing themselves of the school's limited opportunities for studying and making music. The school, which shall remain anonymous, is shown to typify a psychosocial environment that is at best indifferent to active musical participation and, at worse, hostile to it. The study investigates how the attitudes towards, and the perceptions of, music involvement at the school emerge as stereotypical ways of thinking that are counter to the interests of its learners. This case study, supported by two questionnaires completed by peers and parents, and informed by the researcher's experience teaching Music at the school, generated conclusions from which explanations for the general reluctance of adolescent males to engage in specific kinds of school-based musical activities have been attempted. Informing the analysis and interpretation of the data is Erik Erikson's Theory of Psychosocial Development as it pertains to the psychosocial characteristics of adolescent males and provides an explanation as to the extent to which social environments can influence the individual. A close reading of the subjects' responses helps in the articulation of the generally unspoken assumptions of 'muscular Christianity', the Victorian ethos that continues to dominate in schools such as the one that formed the focus of this study, and which is still pervasive in many if not most South African schools. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2009.

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.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1995.

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, 1984.

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

There is no abstract available for this thesis.

The purpose of this study was to determine the status of band programs in the public secondary schools of New Jersey. Answers were sought to the following questions: (1) what was the background of directors; (2) how were the programs organized; (3) what were the nature and extent of performance and rehearsal practices; (4) what type of facilities, budgets, and equipment were available; (5) what did directors believe to be the strengths and weaknesses of band programs; and (6) what were the perceptions of selected superintendents concerning band programs? Information was obtained from band directors through a questionnaire which was sent to every public high school in New Jersey. Another questionnaire was sent to a random selection of superintendents. Data, as received from 60.2 percent of the directors and 72 percent of the superintendents were tabulated, categories were formulated, and tables were prepared to present the data in terms of numbers and/or percentages. 1. Generally, the band directors of New Jersey high schools are experienced and dedicated professionals who seek to improve their teaching skills and philosophies. 2. Students have the opportunity to participate in a wide variety of ensemble offerings. 3. Most ensembles have adequate rehearsal time, although some marching bands seemingly utilize excessive amounts of the student's time for rehearsal and performance. 4. Instrumental lessons are available in 83.9 percent of the schools. 5. Band programs in the high schools possess some of the basic organizational aspects that are believed to be necessary for musical learning to occur. 6. Most band organizations seemingly do not over-perform. 7. Directors and superintendents believe that the emphasis being placed on performance skill, aesthetic/ artistic understanding, and social/personal development is proper. 8. Band directors and superintendents believe there is a need to re-evaluate the functions of band performance for the future. 9. Facilities, equipment, and supplies are seemingly adequate in most schools. 10. Dedication of directors and variety of programs are strengths of New Jersey's band programs. 11. The weaknesses of New Jersey high school band programs appear to be an increased emphasis placed on marching band, competition, and exploitation of band organizations by internal and external forces. This limits musical understanding.

Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.