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.

In order to understand black women's socio-political role in the construction of, and participation in resistance culture, it is essential to look at the historic developments as a whole. To define women's social and political role in resistance as inherently separate would infact marginalize women from the broader overview, and therefore discredit their contribution to resistance politics. Women should be seen as part of public society. If to be separate is, inherently, to be unequal, then it is only by integrating the study of women into the study of society that "women's studies", by ceasing to exist, will, paradoxically, have had the impact on academic fields that it deserves. l Information collected for this thesis, was based on information given by and taped at . African National Congress (ANC), United Democratic Front (UDF) and Pan African Congress (PAC) resistance rallies, meetings and conferences. The women and men I interviewed were affiliated to one of the above mentioned political organizations. I do not wish to speak on behalf of these or any black women, nor do I claim to understand what they had to endure during the eighties. My aim, however, is to document the toyi-toyi as it pertained to black women, and the history surrounding its creation, and the symbolic meaning inherent in its performance, as accurately as possible. I believe the toyi-toyi spoke and still speaks about important political and social issues. Ignoring this voice, and letting it go unnoticed would be an intellectual crime and socially irresponsible. History speaks through the actions of people. A very powerful performance and vehicle of communication will be lost if the toyi-toyi is left undocumented. We as researchers must not only document the words of leaders, we must let the voices of the people be heard. I know many white South Africans are afraid of the toyi-toyi performance. They associate it with unruliness, violence and crime. The SABC news media has done a good job of documenting it as such. News flashes of the toyi-toyi was and is still shown in relation to burning tyres, stone throwing and the "violent, chanting black crowd." The aim of my research and the reason behind writing this thesis, is to let the voices of black people, but especially black women be heard - let the toyi-toyi speak to those who hide from its performance. Endnotes. M.Z. Rosaldo Women, Culture and Society, (Stanford 1874), 128. / Thesis (M.Mus.)-University of Natal, Durban, 1994.

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, 1992.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1988.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1984.

Parody is a concept central to much of the work of Peter Maxwell Davies. In this study the First Fantasia on an In Nomine by John Taverner, the Seven In Nomine, the Second Fantasia on an In Nomine by John Taverner and the opera Taverner are used as case studies of Davies' use of parody. Three categories of parody are discerned: parody in its pre-Baroque sense which entails the use of musical material from pre-existing compositions; parody in its modern sense whereby a particular work or style is imitated in such a manner that the source is ridiculed or satirized; and the non-satirical parody of compositional devices, forms or other features characteristic of a particular musical period. All four works examined in this study use the 'In nomine' by the sixteenth-century composer John Taverner as a source of pre-compositional musical material. Each of Davies' In Nomine works is examined in detail and the composer's use of the device and its function in each instance is discussed. The chronological consideration of the In Nomine compositions, and of Taverner in particular, reveals a gradual change in the manner in which Davies employed parody in his compositions. Attention is thus given to the transition from the emphasis on parody in the Renaissance sense to the emphasis on parody in its modern sense and it is shown. that this transition clearly parallels the change that was taking place within Davies' general compositional style during the sixties. In conclusion, some reasons for the predominant role played by parody in Davies' output and the preoccupation with musical materials derived from the pre-Baroque are suggested, in order to show the relevance of Davies' use of parody within a twentieth-century context. / Thesis (M.Mus.)-University of Natal, Durban, 1990.