Brain-based learning and music education
- Authors: Viljoen, Jacobus Frederick
- Date: 2016
- Subjects: Music -- Instruction and study , Cognitive learning , Music teachers
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/7359 , vital:21336
- Description: In the theoretical framework he highlights further implications of the Brain-based theory, which are (1) the importance of early development in children, (2) the importance of attention in class, (3) the inclusion of physical education in the learning process and (4) the value of an enriched learning environment. Furthermore, the researcher explores the types of stress found in the ordinary classroom as well as specific types of stress habitual to the music classroom, while also presenting possible solutions to these types of stress using the Brain-based learning theory. In chapter four, the researcher draws on the theoretical framework presented in the study to devise a Brain-based model for the music class. The study concludes with a summary of the literature and a brief concluding statement to music educators.
- Full Text:
- Date Issued: 2016
- Authors: Viljoen, Jacobus Frederick
- Date: 2016
- Subjects: Music -- Instruction and study , Cognitive learning , Music teachers
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/7359 , vital:21336
- Description: In the theoretical framework he highlights further implications of the Brain-based theory, which are (1) the importance of early development in children, (2) the importance of attention in class, (3) the inclusion of physical education in the learning process and (4) the value of an enriched learning environment. Furthermore, the researcher explores the types of stress found in the ordinary classroom as well as specific types of stress habitual to the music classroom, while also presenting possible solutions to these types of stress using the Brain-based learning theory. In chapter four, the researcher draws on the theoretical framework presented in the study to devise a Brain-based model for the music class. The study concludes with a summary of the literature and a brief concluding statement to music educators.
- Full Text:
- Date Issued: 2016
Deconstructing Disney's diva: a feminist psychoanalytic critique of the singing princess
- Authors: Potgieter, Liske
- Date: 2015
- Subjects: Music -- Semiotics , Disney characters , Feminist music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/3379 , vital:20427
- Description: This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.
- Full Text: false
- Date Issued: 2015
- Authors: Potgieter, Liske
- Date: 2015
- Subjects: Music -- Semiotics , Disney characters , Feminist music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/3379 , vital:20427
- Description: This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.
- Full Text: false
- Date Issued: 2015
Music education in the foundation phase
- Authors: Beer, Luzaan
- Date: 2015
- Subjects: Music -- Instruction and study -- South Africa , Education -- Curricula -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8525 , http://hdl.handle.net/10948/d1020302
- Description: Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.
- Full Text:
- Date Issued: 2015
- Authors: Beer, Luzaan
- Date: 2015
- Subjects: Music -- Instruction and study -- South Africa , Education -- Curricula -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8525 , http://hdl.handle.net/10948/d1020302
- Description: Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.
- Full Text:
- Date Issued: 2015
(De)constructing the archive : an annotated catalog of the Deon van der Walt Collection in the NMMU Library
- Authors: Buys, Frederick Jacobus
- Date: 2014
- Subjects: Music -- Bibliography -- Catalogs , Archives -- Catalogs , Tenors (Singers) -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8526 , http://hdl.handle.net/10948/d1020585
- Description: Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
- Full Text:
- Date Issued: 2014
- Authors: Buys, Frederick Jacobus
- Date: 2014
- Subjects: Music -- Bibliography -- Catalogs , Archives -- Catalogs , Tenors (Singers) -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8526 , http://hdl.handle.net/10948/d1020585
- Description: Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
- Full Text:
- Date Issued: 2014
A critical study in the management of the female adolescent voice
- Authors: Goosen, Gysbert Jacobus
- Date: 2014
- Subjects: Voice, Change of , Women singers
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/3438 , vital:20430
- Description: This treatise is a qualitative study that critically explores a current body of knowledge significant to the development of the female adolescent voice. The female adolescent voice is a field that is relatively under-researched in comparison to the male adolescent voice, although research in this regard has shown an increase in interest in the last two decades (Gackle 2011: 11). However, information related to the male adolescent voice still far outweighs the female adolescent voice. This study, through the use of six secondary objectives, identifies and highlights areas of the female adolescent voice development, where much of the current research lacks depth and insight. It therefore analyses and compares applicable literature in an attempt principally to contribute to a more structured and academic approach in this field. Insight into the auditory effects that occur during physiological mutation is further supported by investigating the functioning of the female voice registers and the respective influences of these on the different phases of vocal development of the female adolescent. The assistance and expertise of the conductor in this process, as well as in common areas such as voice classification, auditioning, voice placement, and repertoire selection are investigated to further consolidate and compare possible interventions for problems pertaining specifically to the female adolescent voice. The study concludes with a summary of the treatise and proposes suggestions for further study in this field.
- Full Text:
- Date Issued: 2014
- Authors: Goosen, Gysbert Jacobus
- Date: 2014
- Subjects: Voice, Change of , Women singers
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/3438 , vital:20430
- Description: This treatise is a qualitative study that critically explores a current body of knowledge significant to the development of the female adolescent voice. The female adolescent voice is a field that is relatively under-researched in comparison to the male adolescent voice, although research in this regard has shown an increase in interest in the last two decades (Gackle 2011: 11). However, information related to the male adolescent voice still far outweighs the female adolescent voice. This study, through the use of six secondary objectives, identifies and highlights areas of the female adolescent voice development, where much of the current research lacks depth and insight. It therefore analyses and compares applicable literature in an attempt principally to contribute to a more structured and academic approach in this field. Insight into the auditory effects that occur during physiological mutation is further supported by investigating the functioning of the female voice registers and the respective influences of these on the different phases of vocal development of the female adolescent. The assistance and expertise of the conductor in this process, as well as in common areas such as voice classification, auditioning, voice placement, and repertoire selection are investigated to further consolidate and compare possible interventions for problems pertaining specifically to the female adolescent voice. The study concludes with a summary of the treatise and proposes suggestions for further study in this field.
- Full Text:
- Date Issued: 2014
Confronting Afrikaans diction challenges in non-Afrikaans mother tongue choirs
- Authors: Botha, Charlotte
- Date: 2014
- Subjects: Choral singing -- Diction , Afrikaans language -- Diction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8529 , http://hdl.handle.net/10948/d1020956
- Description: This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.
- Full Text:
- Date Issued: 2014
- Authors: Botha, Charlotte
- Date: 2014
- Subjects: Choral singing -- Diction , Afrikaans language -- Diction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8529 , http://hdl.handle.net/10948/d1020956
- Description: This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.
- Full Text:
- Date Issued: 2014
Portfolio of compositions
- Authors: Simpson, Wayne Charles
- Date: 2014
- Subjects: Composition (Music) , Music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/7385 , vital:21343
- Description: This essay will address the evolving nature of, and diversity, in method types of musical analysis. It will explore the connection between methods and approach types to musical analysis and related conceptions of what constitutes meaning in music. These methods will be largely understood as operating inside given parameters of musical meaning. Following a short history of some of the developments concerning structure in music from the 17th to late 19th century, I will discuss some of the dominant analytical methods and aim to highlight common features between them. I will discuss the different approaches these methods employ and highlight areas where a given method might be seen as using more than one approach. I will then investigate some approaches to composition that fall outside the conventional view of musical meaning and ultimately suggest the application of an eclectic model to musical analysis.
- Full Text:
- Date Issued: 2014
- Authors: Simpson, Wayne Charles
- Date: 2014
- Subjects: Composition (Music) , Music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/7385 , vital:21343
- Description: This essay will address the evolving nature of, and diversity, in method types of musical analysis. It will explore the connection between methods and approach types to musical analysis and related conceptions of what constitutes meaning in music. These methods will be largely understood as operating inside given parameters of musical meaning. Following a short history of some of the developments concerning structure in music from the 17th to late 19th century, I will discuss some of the dominant analytical methods and aim to highlight common features between them. I will discuss the different approaches these methods employ and highlight areas where a given method might be seen as using more than one approach. I will then investigate some approaches to composition that fall outside the conventional view of musical meaning and ultimately suggest the application of an eclectic model to musical analysis.
- Full Text:
- Date Issued: 2014
Rachmaninoff, Horowitz, and the discursive arena between (re)composition and performance : the case of Rachmaninoff's Piano Sonata, opus 36
- Authors: Maritz, Gerhardus Petrus
- Date: 2014
- Subjects: Rachmaninoff, Sergei, 1873-1943 , Horowitz, Vladimir, 1903-1989 , Sonatas (Piano) , Piano music , Concertos (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8527 , http://hdl.handle.net/10948/d1020784
- Description: This treatise aims to uncover possible reasons as to why composers rework their compositions. In attempting to answer questions regarding musical and extra-musical (referential) criteria, surrounding conditions and the role performers play in acting as conduits of the aforementioned, the study focuses on three versions of Rachmaninoff’s second Piano Sonata, opus 36. The first of these was composed in 1913, the second constitutes the composer’s revision of this work in 1931, and the third, a subsequent amalgamation of both previously mentioned versions by pianist Horowitz in 1943. The research is grounded in the theoretical ideas of organicist musical structuralism and thematic/motivic transformation (Reti), musical hermeneutics and phenomenology, musical forces (Larsen) and authenticity in musical performance (Taruskin). In addition this study explores methods of critical reading that may be used to disclose the conflicting yet complementary demands of “conciseness” and “drama” contained within the parameters of the three aforementioned versions of Rachmaninoff’s Piano Sonata Op. 36. An introductory chapter is followed by one in which a historical context provides the intertextual matrix against which the musical personae of Rachmaninoff and Horowitz, as well as the three versions of Rachmaninoff’s Piano Sonata Op. 36, may be understood. The chapter thereafter provides a concise overview of the history of musical analysis and the Tendenzwende which signified the change from a purely positivistic analytical approach to a post-modernist perspective on musical critique, against which background a motivation is provided for the analytical approaches applied in this treatise. Chapters 4 and 5 present detailed readings of the sonata from the perspective of “conciseness” and “drama” respectively. In conclusion, the final chapter reflects on findings made and conclusion drawn, with particular reference to the authenticity debate in current musicological discourse.
- Full Text:
- Date Issued: 2014
- Authors: Maritz, Gerhardus Petrus
- Date: 2014
- Subjects: Rachmaninoff, Sergei, 1873-1943 , Horowitz, Vladimir, 1903-1989 , Sonatas (Piano) , Piano music , Concertos (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8527 , http://hdl.handle.net/10948/d1020784
- Description: This treatise aims to uncover possible reasons as to why composers rework their compositions. In attempting to answer questions regarding musical and extra-musical (referential) criteria, surrounding conditions and the role performers play in acting as conduits of the aforementioned, the study focuses on three versions of Rachmaninoff’s second Piano Sonata, opus 36. The first of these was composed in 1913, the second constitutes the composer’s revision of this work in 1931, and the third, a subsequent amalgamation of both previously mentioned versions by pianist Horowitz in 1943. The research is grounded in the theoretical ideas of organicist musical structuralism and thematic/motivic transformation (Reti), musical hermeneutics and phenomenology, musical forces (Larsen) and authenticity in musical performance (Taruskin). In addition this study explores methods of critical reading that may be used to disclose the conflicting yet complementary demands of “conciseness” and “drama” contained within the parameters of the three aforementioned versions of Rachmaninoff’s Piano Sonata Op. 36. An introductory chapter is followed by one in which a historical context provides the intertextual matrix against which the musical personae of Rachmaninoff and Horowitz, as well as the three versions of Rachmaninoff’s Piano Sonata Op. 36, may be understood. The chapter thereafter provides a concise overview of the history of musical analysis and the Tendenzwende which signified the change from a purely positivistic analytical approach to a post-modernist perspective on musical critique, against which background a motivation is provided for the analytical approaches applied in this treatise. Chapters 4 and 5 present detailed readings of the sonata from the perspective of “conciseness” and “drama” respectively. In conclusion, the final chapter reflects on findings made and conclusion drawn, with particular reference to the authenticity debate in current musicological discourse.
- Full Text:
- Date Issued: 2014
An investigation of community music in the Northern Areas of Port Elizabeth :a case study of five community bands
- Tobias, Michael Charles Peter
- Authors: Tobias, Michael Charles Peter
- Date: 2013
- Subjects: Community music -- South Africa -- Port Elizabeth , Bands (Music) -- South Africa -- Port Elizabeth
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8528 , http://hdl.handle.net/10948/d1020949
- Description: The Northern Areas of Port Elizabeth are mostly comprised of the so called “Coloured” community and is vibrant in tradition and musical activities. Community music in the form of marching bands, brigade bands, wind bands and brass bands form a central part of the music activities in this area. The non-availability of music education in schools combined with the multitude of social challenges creates a cultural and moral vacuum. Children are not exposed to the finer arts and music in particular and without these bands and groups probably never will. This study will explore five community bands/groups and the role they play in the lives of people and especially the children and the youth. The impact and influence music has on the social upliftment of under-privileged children in this area has never been studied. The study shows the big impact these bands/groups have on the children and the communities they serve and highlights the dedication and good work of those band managers working with these groups. The study concludes with a proposal that an art/music centre be established in the Northern Areas of Port Elizabeth.
- Full Text:
- Date Issued: 2013
- Authors: Tobias, Michael Charles Peter
- Date: 2013
- Subjects: Community music -- South Africa -- Port Elizabeth , Bands (Music) -- South Africa -- Port Elizabeth
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8528 , http://hdl.handle.net/10948/d1020949
- Description: The Northern Areas of Port Elizabeth are mostly comprised of the so called “Coloured” community and is vibrant in tradition and musical activities. Community music in the form of marching bands, brigade bands, wind bands and brass bands form a central part of the music activities in this area. The non-availability of music education in schools combined with the multitude of social challenges creates a cultural and moral vacuum. Children are not exposed to the finer arts and music in particular and without these bands and groups probably never will. This study will explore five community bands/groups and the role they play in the lives of people and especially the children and the youth. The impact and influence music has on the social upliftment of under-privileged children in this area has never been studied. The study shows the big impact these bands/groups have on the children and the communities they serve and highlights the dedication and good work of those band managers working with these groups. The study concludes with a proposal that an art/music centre be established in the Northern Areas of Port Elizabeth.
- Full Text:
- Date Issued: 2013
A critical study of voice teaching method, with specific reference to solo singing, choral singing and vocal health for the teenage singer
- Authors: Olivier, Madelie Charlotte
- Date: 2012
- Subjects: Singing -- Instruction and study , Voice culture -- Exercises , Singing -- Methods
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8523 , http://hdl.handle.net/10948/d1019926
- Description: This dissertation presents a critical study of voice teaching method as this pertains to the high school learner studying voice within the South African educational environment, with learning outcomes determined for subject music within the GET (General Education and Training) and FET (Further Education and Training) bands of the Department of Basic Education at each school grade level, as well as by external examining bodies such as Unisa (University of South Africa), Trinity Guildhall and ABRSM (Amalgamated Board of the Royal Schools of Music). Emphasis is placed on the methodological principles applicable in the case of the Western classical music solo vocal repertoire, but reference is also made to the applicability of this method in other vocal genres and, in particular, in the case of choral music participation. Special attention is given to the subject of the vocal health of the developing teenage voice, which includes an overview of vocal disorders and suggestions for rehabilitation and remedial programmes where necessary. Triangulation of research results is achieved in this study through inclusion of: - A thorough survey of selected pertinent bibliographic sources - Description of and engagement with the researcher’s own numerous phenomenological encounters in this field - Interviews conducted in Port Elizabeth with Jill Nock, voice teacher, on the subject of voice teaching method, and with John Black, Ear, Nose and Throat Specialist, on the subject of vocal health. The researcher concludes that there is a need for continued education and training of music educators in the South African high school environment, many of whom are not trained voice specialists, in order to cater for the growing number of high school music learners who choose to specialise in voice. Although educator networking can go a long way towards creating an informal support system to address this need, it is ultimately the responsibility of the Department of Basic Education to address this in a formal and all-encompassing fashion.
- Full Text:
- Date Issued: 2012
- Authors: Olivier, Madelie Charlotte
- Date: 2012
- Subjects: Singing -- Instruction and study , Voice culture -- Exercises , Singing -- Methods
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8523 , http://hdl.handle.net/10948/d1019926
- Description: This dissertation presents a critical study of voice teaching method as this pertains to the high school learner studying voice within the South African educational environment, with learning outcomes determined for subject music within the GET (General Education and Training) and FET (Further Education and Training) bands of the Department of Basic Education at each school grade level, as well as by external examining bodies such as Unisa (University of South Africa), Trinity Guildhall and ABRSM (Amalgamated Board of the Royal Schools of Music). Emphasis is placed on the methodological principles applicable in the case of the Western classical music solo vocal repertoire, but reference is also made to the applicability of this method in other vocal genres and, in particular, in the case of choral music participation. Special attention is given to the subject of the vocal health of the developing teenage voice, which includes an overview of vocal disorders and suggestions for rehabilitation and remedial programmes where necessary. Triangulation of research results is achieved in this study through inclusion of: - A thorough survey of selected pertinent bibliographic sources - Description of and engagement with the researcher’s own numerous phenomenological encounters in this field - Interviews conducted in Port Elizabeth with Jill Nock, voice teacher, on the subject of voice teaching method, and with John Black, Ear, Nose and Throat Specialist, on the subject of vocal health. The researcher concludes that there is a need for continued education and training of music educators in the South African high school environment, many of whom are not trained voice specialists, in order to cater for the growing number of high school music learners who choose to specialise in voice. Although educator networking can go a long way towards creating an informal support system to address this need, it is ultimately the responsibility of the Department of Basic Education to address this in a formal and all-encompassing fashion.
- Full Text:
- Date Issued: 2012
An evaluation of the efficacy of digital real-time noise control techniques in evoking the musical effect
- Authors: Warneke, Andrew Travis
- Date: 2012
- Subjects: Music -- Acoustics and physics , Signal processing -- Digital techniques
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8524 , http://hdl.handle.net/10948/d1020158
- Description: This study sought to determine whether or not it may be possible to evoke ‘the musical effect' – the emotional response perceived by music listeners – using white noise as a sound-source and real-time digital signal processing techniques. This information was considered to be valuable as in a world driven by technological progress the potential use of new or different technologies in creating music could lead to the development of new methods of – and tools for – composition and performance. More specifically this research asked the question 'what is music?' and investigated how humans – both trained musicians and untrained people – perceive it. The elements of music were investigated for their affective strengths and new fields of research explored for insights into emotion identification in music. Thereafter the focus shifted into the realm of Digital Signal Processing. Common operations and techniques for signal manipulation were investigated and an understanding of the field as a whole was sought. The culmination of these two separate, yet related, investigations was the design and implementation of a listening experiment conducted on adult subjects. They were asked to listen to various manipulated noise-signals and answer a questionnaire with regard to their perceptions of the audio material. The data from the listening experiment suggest that certain DSP techniques can evoke ‘the musical effect’. Various musical elements were represented via digital techniques and in many cases respondents reported perceptions which suggest that some effect was felt. The techniques implemented and musical elements represented were discussed, and possible applications for these techniques, both musical and non-musical, were explored. Areas for further research were discussed and include the implementation of even more DSP techniques, and also into garnering a more specific idea of the emotion perceived by respondents in response to the experiment material.
- Full Text:
- Date Issued: 2012
- Authors: Warneke, Andrew Travis
- Date: 2012
- Subjects: Music -- Acoustics and physics , Signal processing -- Digital techniques
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8524 , http://hdl.handle.net/10948/d1020158
- Description: This study sought to determine whether or not it may be possible to evoke ‘the musical effect' – the emotional response perceived by music listeners – using white noise as a sound-source and real-time digital signal processing techniques. This information was considered to be valuable as in a world driven by technological progress the potential use of new or different technologies in creating music could lead to the development of new methods of – and tools for – composition and performance. More specifically this research asked the question 'what is music?' and investigated how humans – both trained musicians and untrained people – perceive it. The elements of music were investigated for their affective strengths and new fields of research explored for insights into emotion identification in music. Thereafter the focus shifted into the realm of Digital Signal Processing. Common operations and techniques for signal manipulation were investigated and an understanding of the field as a whole was sought. The culmination of these two separate, yet related, investigations was the design and implementation of a listening experiment conducted on adult subjects. They were asked to listen to various manipulated noise-signals and answer a questionnaire with regard to their perceptions of the audio material. The data from the listening experiment suggest that certain DSP techniques can evoke ‘the musical effect’. Various musical elements were represented via digital techniques and in many cases respondents reported perceptions which suggest that some effect was felt. The techniques implemented and musical elements represented were discussed, and possible applications for these techniques, both musical and non-musical, were explored. Areas for further research were discussed and include the implementation of even more DSP techniques, and also into garnering a more specific idea of the emotion perceived by respondents in response to the experiment material.
- Full Text:
- Date Issued: 2012
An exploratory study of South African choral identity with specific reference to three regional children's choirs
- Authors: Swart, Jan-Erik
- Date: 2012
- Subjects: Children's choirs , Cultural pluralism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8519 , http://hdl.handle.net/10948/d1013205
- Description: This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.
- Full Text:
- Date Issued: 2012
- Authors: Swart, Jan-Erik
- Date: 2012
- Subjects: Children's choirs , Cultural pluralism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8519 , http://hdl.handle.net/10948/d1013205
- Description: This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.
- Full Text:
- Date Issued: 2012
Evaluating the efficacy of training programmes for secondary school music teachers at higher education institutions in the province of the Eastern Cape
- Authors: Rademan, Carika
- Date: 2012
- Subjects: Music in universities and colleges -- South Africa , Music teachers -- Training of , School music -- Instruction and study , Teacher effectiveness
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8522 , http://hdl.handle.net/10948/d1019925
- Description: Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.
- Full Text:
- Date Issued: 2012
- Authors: Rademan, Carika
- Date: 2012
- Subjects: Music in universities and colleges -- South Africa , Music teachers -- Training of , School music -- Instruction and study , Teacher effectiveness
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8522 , http://hdl.handle.net/10948/d1019925
- Description: Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.
- Full Text:
- Date Issued: 2012
Effects of selected modes of digital distribution on music consumerism, with reference to the album format
- Authors: Du Preez, Liska
- Date: 2011
- Subjects: Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8504 , http://hdl.handle.net/10948/1427 , Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Description: In this digital age many listeners of music now purchase albums from online digital music stores instead of buying a physical album from the record store. This has created a concern with many regarding the future of the album as a physical medium. This study investigates the impact of the possible death of the album on certain listening habits, the activity of record collecting, the creation of large-scale musical works, music consumerism, and its implications for the creative process on music as art and sound-recording quality. Three realisations have led to the problem statement. Firstly, the album might not have a future in the digital age. Secondly, downloadable songs might not be able to recreate an album experience. The third realisation is that the possible death of the album could create new, exciting challenges to artists as they strive to create art. This study is exploratory in nature - and no hypothesis was generated. The research necessitates qualitative, exploratory, descriptive and contextual approaches. Furthermore, the investigation has led to the collection of mostly new data, constituting a “primary data design” through the implementation of qualitative listening experiments and a focus group, using full-time NMMU students between 18 and 25 years of age. It is herein argued that digital distribution might possibly have an effect on the perception of the album format and might possibly still be a relevant listening experience, valued by young people. Singles and albums are collectable; and good albums are considered artistic and comparable to the large-scale musical works of the past. If the concept of an album does not die out, then high fidelity formats should be able to re-invent the album experience. Listening experiences other than the album experience do exist, and they could generate new ways for artists to create musical art.
- Full Text:
- Date Issued: 2011
- Authors: Du Preez, Liska
- Date: 2011
- Subjects: Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8504 , http://hdl.handle.net/10948/1427 , Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Description: In this digital age many listeners of music now purchase albums from online digital music stores instead of buying a physical album from the record store. This has created a concern with many regarding the future of the album as a physical medium. This study investigates the impact of the possible death of the album on certain listening habits, the activity of record collecting, the creation of large-scale musical works, music consumerism, and its implications for the creative process on music as art and sound-recording quality. Three realisations have led to the problem statement. Firstly, the album might not have a future in the digital age. Secondly, downloadable songs might not be able to recreate an album experience. The third realisation is that the possible death of the album could create new, exciting challenges to artists as they strive to create art. This study is exploratory in nature - and no hypothesis was generated. The research necessitates qualitative, exploratory, descriptive and contextual approaches. Furthermore, the investigation has led to the collection of mostly new data, constituting a “primary data design” through the implementation of qualitative listening experiments and a focus group, using full-time NMMU students between 18 and 25 years of age. It is herein argued that digital distribution might possibly have an effect on the perception of the album format and might possibly still be a relevant listening experience, valued by young people. Singles and albums are collectable; and good albums are considered artistic and comparable to the large-scale musical works of the past. If the concept of an album does not die out, then high fidelity formats should be able to re-invent the album experience. Listening experiences other than the album experience do exist, and they could generate new ways for artists to create musical art.
- Full Text:
- Date Issued: 2011
From physics to music: an analysis of the role of overtones in the improvement of choral tone
- Authors: Starker, Leonard Bonn
- Date: 2011
- Subjects: Choral singing , Choral singing -- Intonation , Choral singing -- Instruction and study , Voice culture
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8518 , http://hdl.handle.net/10948/d1012937
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
- Full Text:
- Date Issued: 2011
- Authors: Starker, Leonard Bonn
- Date: 2011
- Subjects: Choral singing , Choral singing -- Intonation , Choral singing -- Instruction and study , Voice culture
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8518 , http://hdl.handle.net/10948/d1012937
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
- Full Text:
- Date Issued: 2011
From physics to music: an analysis of the role of overtones in the improvement of choral tone
- Authors: Starker, Leonard Bonn
- Date: 2011
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8502 , http://hdl.handle.net/10948/1650
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
- Full Text:
- Date Issued: 2011
- Authors: Starker, Leonard Bonn
- Date: 2011
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8502 , http://hdl.handle.net/10948/1650
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
- Full Text:
- Date Issued: 2011
An evaluation into the implemation of the arts and culture learning area in Bizana schools of the Eastern Cape Province
- Authors: Mbeshu, Nonceba Cynthia
- Date: 2010
- Subjects: Arts -- Study and teaching -- South Africa , Culture -- Study and teaching -- South Africa , Teachers -- Training of -- South Africa -- Eastern Cape , Curriculum evaluation -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8508 , http://hdl.handle.net/10948/1189 , Arts -- Study and teaching -- South Africa , Culture -- Study and teaching -- South Africa , Teachers -- Training of -- South Africa -- Eastern Cape , Curriculum evaluation -- South Africa -- Eastern Cape
- Description: “Arts in education are arts that play a radical different role in the open classroom than traditional school. Arts are the real business of reading, writing, math or science” Siberman cited in Mark, (1995:160). This view by Siberman sharply contrasts with my observations in my school. During CASS moderation sessions, teachers bring learner portfolios with no learning activities, others prefer to teach learning areas they are qualified for rather than teaching Arts and Culture because they have no background knowledge in Arts and Culture. The question I wrestled with was: what could be the challenges faced by the Arts and Culture teachers given the fact that training has been conducted since the inclusion of the learning area in the curriculum from 1999 to date? In an implementation evaluation study that I conducted among four schools in the Bizana Area of the Eastern Cape Province, I found out through participant observation, questionnaires and interviews from four sampled senior phase teachers, that some of the participants have stopped teaching Arts and Culture in their schools because ‘they do not know what to teach’. Through the use of a thematic content analysis approach, I found out that many teachers complain about their lack of background knowledge of the art forms and that there is limited time provided in the timetable to teach this learning area. Seemingly, there are still challenges in the implementation of the learning area in this district. The results indicate a serious need for formal training of the Arts and Culture teachers with proper qualifications in more than one art form.
- Full Text:
- Date Issued: 2010
- Authors: Mbeshu, Nonceba Cynthia
- Date: 2010
- Subjects: Arts -- Study and teaching -- South Africa , Culture -- Study and teaching -- South Africa , Teachers -- Training of -- South Africa -- Eastern Cape , Curriculum evaluation -- South Africa -- Eastern Cape
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8508 , http://hdl.handle.net/10948/1189 , Arts -- Study and teaching -- South Africa , Culture -- Study and teaching -- South Africa , Teachers -- Training of -- South Africa -- Eastern Cape , Curriculum evaluation -- South Africa -- Eastern Cape
- Description: “Arts in education are arts that play a radical different role in the open classroom than traditional school. Arts are the real business of reading, writing, math or science” Siberman cited in Mark, (1995:160). This view by Siberman sharply contrasts with my observations in my school. During CASS moderation sessions, teachers bring learner portfolios with no learning activities, others prefer to teach learning areas they are qualified for rather than teaching Arts and Culture because they have no background knowledge in Arts and Culture. The question I wrestled with was: what could be the challenges faced by the Arts and Culture teachers given the fact that training has been conducted since the inclusion of the learning area in the curriculum from 1999 to date? In an implementation evaluation study that I conducted among four schools in the Bizana Area of the Eastern Cape Province, I found out through participant observation, questionnaires and interviews from four sampled senior phase teachers, that some of the participants have stopped teaching Arts and Culture in their schools because ‘they do not know what to teach’. Through the use of a thematic content analysis approach, I found out that many teachers complain about their lack of background knowledge of the art forms and that there is limited time provided in the timetable to teach this learning area. Seemingly, there are still challenges in the implementation of the learning area in this district. The results indicate a serious need for formal training of the Arts and Culture teachers with proper qualifications in more than one art form.
- Full Text:
- Date Issued: 2010
Constructing a web of culture: the case of akKOORd, an Overberg community choir
- Authors: Jacobs, Sunell Human
- Date: 2010
- Subjects: Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8506 , http://hdl.handle.net/10948/1254 , Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Description: akKOORd, a community choir in the relatively small southern region of the Overberg, was formed in 2006, and although the choir has only a brief history, its spirit, activities, and concerts have inspired and touched many people. This qualitative study pays attention to aspects of the choir’s history, its performance practice and of the “web” of community members connected to and involved in its activities. Through interviews and personal notes this in-depth study provides a “micronarrative” of this choir within the “web” of the Overberg community itself. It aims to not only interpret this narrative with regard to the meaning behind actions and their symbolic importance in society, but also to explore its relevance in the broader context of current South African cultural discourse. During this research it became evident that policy makers and potential funders regard this predominantly white choir with its Western repertoire as a form of undesirable exclusivity and elitism. This study opposes such a point of view, contending instead that elitism in the form of excellence has the power to defy barriers of social standing and ethnicity, and to unite people through a collective sense of ownership.
- Full Text:
- Date Issued: 2010
- Authors: Jacobs, Sunell Human
- Date: 2010
- Subjects: Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8506 , http://hdl.handle.net/10948/1254 , Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Description: akKOORd, a community choir in the relatively small southern region of the Overberg, was formed in 2006, and although the choir has only a brief history, its spirit, activities, and concerts have inspired and touched many people. This qualitative study pays attention to aspects of the choir’s history, its performance practice and of the “web” of community members connected to and involved in its activities. Through interviews and personal notes this in-depth study provides a “micronarrative” of this choir within the “web” of the Overberg community itself. It aims to not only interpret this narrative with regard to the meaning behind actions and their symbolic importance in society, but also to explore its relevance in the broader context of current South African cultural discourse. During this research it became evident that policy makers and potential funders regard this predominantly white choir with its Western repertoire as a form of undesirable exclusivity and elitism. This study opposes such a point of view, contending instead that elitism in the form of excellence has the power to defy barriers of social standing and ethnicity, and to unite people through a collective sense of ownership.
- Full Text:
- Date Issued: 2010
Howard Gardner's multiple intelligences theory, outcomes-based education and curriculum implementation in South Africa : a critique of music education in the general education and training phase
- Authors: Clench, Renate
- Date: 2010
- Subjects: Music -- Instruction and study -- South Africa , School music -- Instruction and study -- South africa , Music in education , Intellect
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8507 , http://hdl.handle.net/10948/1218 , Music -- Instruction and study -- South Africa , School music -- Instruction and study -- South africa , Music in education , Intellect
- Description: This study examines the current curriculum for primary schools in South Africa – Curriculum 2005 (C2005) and the subsequent Revised National Curriculum Statement (RNCS), with Outcomes-Based Education (OBE) as its fundamental educational approach - with specific reference to the place of music education in it. While the underlying principles and scope of this curriculum has many positive attributes, numerous studies have shown that there are still major stumbling blocks in the way of its successful implementation. Since the emphasis of the Arts and Culture Learning Area is on the nurturing of generic values and attitudes towards culture, it does not provide for sufficient development of subject-specific musical skills and knowledge. Instead this vital form of musical learning continues to be provided in the form of extra-curricular music programmes by those few schools who have the staff expertise and the funding to do so. Music therefore remains accessible only to the privileged few. .Although C2005 encourages and requires significant levels of integration in Learning Outcomes and Assessment Standards within and across Learning Areas, this is currently one of the least successful aspects of its implementation. This lack of success, it is argued, is in part the result of severe limitations in the training of teachers and the availability of necessary resources in schools, and in part the result of the curriculum’s own limited interpretation of integration. Psychologist Dr Howard Gardner’s Theory of Multiple Intelligences is a holistic approach to education that stresses, amongst other things, that Musical Intelligence is one of eight vital forms of intelligence that should be accessible to all children. It is argued that educational approaches based on Gardner’s Multiple Intelligences Theory provide some insights into the integration of Musical Intelligence with other forms of learning that may usefully be applied in C2005.
- Full Text:
- Date Issued: 2010
- Authors: Clench, Renate
- Date: 2010
- Subjects: Music -- Instruction and study -- South Africa , School music -- Instruction and study -- South africa , Music in education , Intellect
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8507 , http://hdl.handle.net/10948/1218 , Music -- Instruction and study -- South Africa , School music -- Instruction and study -- South africa , Music in education , Intellect
- Description: This study examines the current curriculum for primary schools in South Africa – Curriculum 2005 (C2005) and the subsequent Revised National Curriculum Statement (RNCS), with Outcomes-Based Education (OBE) as its fundamental educational approach - with specific reference to the place of music education in it. While the underlying principles and scope of this curriculum has many positive attributes, numerous studies have shown that there are still major stumbling blocks in the way of its successful implementation. Since the emphasis of the Arts and Culture Learning Area is on the nurturing of generic values and attitudes towards culture, it does not provide for sufficient development of subject-specific musical skills and knowledge. Instead this vital form of musical learning continues to be provided in the form of extra-curricular music programmes by those few schools who have the staff expertise and the funding to do so. Music therefore remains accessible only to the privileged few. .Although C2005 encourages and requires significant levels of integration in Learning Outcomes and Assessment Standards within and across Learning Areas, this is currently one of the least successful aspects of its implementation. This lack of success, it is argued, is in part the result of severe limitations in the training of teachers and the availability of necessary resources in schools, and in part the result of the curriculum’s own limited interpretation of integration. Psychologist Dr Howard Gardner’s Theory of Multiple Intelligences is a holistic approach to education that stresses, amongst other things, that Musical Intelligence is one of eight vital forms of intelligence that should be accessible to all children. It is argued that educational approaches based on Gardner’s Multiple Intelligences Theory provide some insights into the integration of Musical Intelligence with other forms of learning that may usefully be applied in C2005.
- Full Text:
- Date Issued: 2010
A critique of baroque performance practice with specific reference to the organ preludes and fugues by Johann Sebastian Bach
- Authors: Murphy, Liesel
- Date: 2009
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8509 , http://hdl.handle.net/10948/1023 , Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Description: This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.
- Full Text:
- Date Issued: 2009
- Authors: Murphy, Liesel
- Date: 2009
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8509 , http://hdl.handle.net/10948/1023 , Bach, Johann Sebastian, 1685-1750 -- Organ music , Bach, Johann Sebastian, 1685-1750 -- Keyboard music , Performance practice (Music) -- History -- 17th century , Organ music -- History and criticism , Music -- 17th century -- Performance
- Description: This study aims to provide a critique of Baroque performance practice, with specific reference to the organ Preludes and Fugues of Johann Sebastian Bach. Drawing from the extensive body of literature pertaining to Bach’s keyboard music, a number of relevant issues are explored in so far as these may provide understanding of the manner in which the organ Preludes and Fugues should be performed today. These include: • The notion of Bach’s ‘generic’ keyboard works. Were the generic keyboard works as a whole intended to be performed on more than one keyboard instrument? The instrumental designations given by Bach in these works are a valuable source of information in answering this question. • The type of organ that was known to J.S. Bach and typical registration used in the Baroque, called the plenum. • Identification of the grey area that persists in the interpretation of Bach’s organ works with regard to registration, tempo, rhythm, articulation, phrasing, fingering and ornamentation. This study also engages with the current authenticity debate in musical performance as seen from the modernist and postmodernist points of view. The modernist ideal of authenticity is to “re-create” or “reconstruct” performances of Bach’s music with as much accuracy as the evidence of historical musicologists can provide. For the postmodernist, however, authenticity lies in embracing the human element of contingency in musical performance, along with a thorough grounding of such performance in historical evidence. In aligning itself with the postmodernist point of view, this study ultimately argues that we cannot learn everything there is to know about Baroque performance practice from books. Instead, in addition to historical evidence, we draw much of our understanding in this regard from our innate or tacit levels of knowing. In this regard the scholar of Bach’s organ works can draw valuable lessons from the levels of tacit knowledge of leading organ pedagogues and performers on the subject of Baroque performance practice.
- Full Text:
- Date Issued: 2009