Odeion School of Music
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Browsing Odeion School of Music by Author "De Villiers, Frelet"
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Item Open Access A critical review of South Africa's curriculum and assessment policy statement grades 10-12 music(University of the Free State, 2014-01) Hellberg, Elsabie Petronella; Van Niekerk, Caroline; De Villiers, FreletIn 2012 a new curriculum for Grade 10-12, Curriculum and Assessment Policy Statement (CAPS), was implemented in South African government schools. This new curriculum applies to all subjects, including Music. Before implementation, concern was raised by numerous music educators regarding the development and content of the curriculum. In reaction to the draft document, several suggestions were submitted to the Department of Basic Education by schools. Despite this, no significant changes were made to the curriculum. In comparison to the National Curriculum Statement (NCS), CAPS’s predecessor, CAPS restricts the stylistic choice to dominantly Western Art Music, Jazz or Indigenous African Music stylistic approach, especially concerning music history. The aim of this study was to critically review Music CAPS in terms of Music curricula of other countries from First, Second and Third World spheres. In addition, data was gathered through questionnaires from five samples (educators, learners, parents, lecturers and one curriculum assessor). The comparison between the different countries' Music curricula revealed that, except for South Africa and Trinidad and Tobago, a correlation exists between the various countries' demographic distribution and the stylistic preference in their Music curricula. Furthermore, South Africa's Music CAPS’s content and contextual framework is, especially regarding Western Art Music, comparable to the Music curricula of First World countries. On the other hand, lack of demarcation in its Indigenous African Music and almost non-existent composition constituent are inconsistent with First World countries. Concerning the questionnaires, several significant findings were made. These include participants' rating of Music CAPS concerning its link with tertiary music education and the music industry, the exclusion of music technology from the curriculum and the omission of Popular Music. Following the results of the study, suggestions are made towards an improved South African subject Music curriculum. Among others, proposals include raising the performance standards; reintroducing music technology; expanding the composition component; adding Contemporary Music; and addressing teacher competence through sustained training. Until now, changes to the South African subject Music curriculum were not research-based. Since this thesis is based on formal research, it will be submitted to the national assessment team who are currently reviewing Music CAPS.Item Open Access An investigation into a proposed syllabus for tuba performance studies at South African universities(University of the Free State, 2021-11) Foster, George; De Villiers, Frelet; Golson, PhilA primary function of syllabi for university music performance studies is the prescription of both compulsory and recommended module materials. However, as South African universities lack comprehensive syllabi for tuba performance studies, the aim of this study was the proposition of such a syllabus for use in the various institutions. The key research problem focused on the aspects that ought to be considered in the compilation of these syllabi. The emerging sub-questions sought to determine the extent to which lecturers use these syllabi to prescribe materials to their students; the various components, design process and limitations of the existing syllabi, and the systems/tools available for the grading of solo tuba repertoire as an integral process in syllabus compilation. In the absence of a suitable system for this purpose of grading solo repertoire for various years of university study, I designed a system based on existing systems, data from respondents, all informed by my experience as a university tuba lecturer and performer. I performed a literature review and complemented this by conducting interviews with national and international tuba lecturers who were selected according to specific criteria. Through the integration of the literature, collected documents and the thematic analysis of the interview transcripts, I suggested a framework for the layout, and ideas for compilation of the administrative and music-orientated components of a syllabus for university tuba performance studies. By the utilisation of the syllabus compilation suggestions and framework, university tuba lecturers are hereby presented with a source for the compilation of their own syllabi. Additionally, they have at their disposal a system that can accurately and comprehensively grade various repertoire pieces that may be used as the content of repertoire lists within their syllabi, and from which various works may be chosen to fulfil the requirements of their specific modules.Item Open Access Musicians' sensory patterns in relation to their primary musical instrument(University of the Free State, 2018-11) Hellberg, Elsabie Petronella; De Villiers, Frelet; Van Niekerk, CarolineThis study examined the relation between 1327 musicians’ sensory patterns and their primary musical instrument. Musicians’ sensory patterns were further compared with reference to different instrument groups, within instrument groups, and gender within these groups. To achieve this, a quantitative criterion group design was implemented using the Adult/Adolescent Sensory History (ASH). This 163-item selfreport questionnaire is principally used in occupational therapy to evaluate individuals’ sensory integration and its influence on their daily functioning. Employing the ASH, musicians’ sensory patterns were examined from three perspectives: sensory modulation and discrimination, functional problems, and motor/social components. It was established that, in comparison to the standard population, musicians demonstrate increased sensitivity for all the components contained in the ASH. Overall, musicians achieved higher auditory modulation, visual modulation, and proprioceptive discrimination scores than the average person. Instead of viewing these as sensory obstacles, they rather point toward musicians’ increased sensitivity/awareness or superior sensory abilities. It was found that in terms of auditory modulation, percussion, trombone, trumpet and tuba players were the only instrumentalists who score within the typical range of the ASH. Of the instruments which were within the mild difficulties range, violin players obtained the highest score. It emerged that the majority of musicians from all 19 instruments’ visual modulation scores were within the ASH’s mild difficulties range, indicating greater sensitivity to visual stimuli than the average person. Similarly, all groups except percussion scored at the low end of mild difficulties range. This is in accordance with previous research which determined that musicians have superior multisensory processing and integration of tactile and visual information which allow them to react significantly more quickly to such stimuli than non-musicians. It was further found that, although within the norm, musicians demonstrate greater discrimination sensitivity, especially in terms of proprioception, than the standard population. As far as functional problems are concerned, musicians’ scores were overall slightly higher than the norm. Sensory over-responsivity, often coinciding with modulation challenges/sensitivity, was established among all musician groups. With the exception of pianists and violinists, all instrument groups were at the low end of the mild difficulties range for the various sensory seeking behaviours. These behaviours are typically associated with higher modulation or discrimination scores – evident from the results of this study. Several gender differences emerged in terms of vestibular, visual and tactile modulation, vestibular discrimination, as well as sensory seeking behaviours. Another noteworthy finding involves musicians’ social/emotional patterns. Similar to previous research, it was established that higher levels of anxiety, depression, impulsivity and introversion exist among musicians. For the first time, as a result of my research, these traits have now been shown to be connected to sensory processing difficulties/sensitivity. By conducting this research, pioneering work was done concerning musicians’ sensory patterns, providing multiple possibilities for further research.Item Open Access Proposing a seamless learning experience design (SLED) framework based on international perspectives of educators from five higher education institutions(Academic Publishing International Limited, 2022) Hambrock, Helga; De Villiers, FreletSince seamless learning (SL) is still a rather unknown concept in higher education many educators classify it under the same categories as mobile, blended, online or hybrid learning. The purpose of this study is first to clarify the historical evolvement of the seamless learning concept over the past decades and, to position the seamless learning concept as it is understood today. Secondly, to find the most important concepts which can be proposed for a useful seamless learning experience design framework to assist educators with their course design. Considering this context, the research question for this study is formulated as follows: “Which concepts constitute a seamless learning experience design framework for students in higher education?” To answer this question, an inductive qualitative research analysis was conducted by collecting data from educators from countries on five continents on their views on this topic. Following a thematic coding approach of the combined dataset, five emerging themes crystallised, and are presented as part of a proposed Seamless Learning Experience Design (SLED) framework. They include core, positive, practical, human and design concepts – including sub-themes. The framework contributes to quality assurance processes in e-learning practices by providing a tool for developing seamless learning experiences for students.Item Open Access The value and effectiveness of contemporary commercial music syllabi in the development of vocal technique(University of the Free State, 2019-06) Ludwig, Christine Ann; Thom Wium, Matildie; De Villiers, FreletContemporary Commercial Music (CCM) vocal training has become increasingly popular since I began teaching in the early 2000s. In general, my clients; comprising of high school students and adults from my private teaching practice, have a preference for CCM voice training over Classical training. For the Further Education and Training (FET) phase in the South African school system, there are currently two primary syllabi available for teachers of CCM practical instruments; these are the Trinity Rock & Pop syllabus and the Rockschool syllabus. Since CCM vocal instructors are compelled to use the syllabi mentioned above, they have naturally become a guideline for voice teachers in the development of CCM vocal technique. Previous studies of CCM syllabi and vocal technique for the CCM singer are incomplete and do not definitively address the developmental value of the CCM syllabi for singers of CCM genres. The dissertation investigates vocal requirements for the CCM singer, focusing on CCM vocal development, vocal idioms, styles, pedagogy and pedagogues, and the use of these elements in the syllabi. The study uses a descriptive qualitative research design, and recruits for interviews ten FET phase vocal instructors familiar with Trinity Rock & Pop and Rockschool syllabi. Interview data collection uses semi-structured interviews with open-ended questions. Alongside this, an in-depth analysis of both syllabi is conducted. The syllabi investigation measures each syllabus against their own criteria in conjunction with CCM vocal idiomatic requirements and the physical capabilities of the adolescent singer. The study found that both syllabi have areas of value, but these are not sufficient for the development of vocal technical ability. Vocal instructors prefer the Rockschool syllabus, feeling that it has more substance. However, the research shows that the Trinity Rock & Pop syllabus is more systematic in its progression of difficulty and graded content. The study established that the syllabi alone are not effectual in developing the technical abilities of the CCM singer, and the education and experience of the vocal trainer must be reasonably advanced to implement the requirements of the syllabi.