Masters Degrees (Odeion School of Music)

Permanent URI for this collection

http://hdl.handle.net/11660/571

Browse

Now showing 1 - 20 of 20

Open Access
A holistic framework for beginner instrumentalists: synergising product and process by way of meaningful learning experiences
(University of the Free State, 2021-11) Novella, Angelique; Froneman, A.; Pretorius, G. G.
This study investigated an alternative to a disembodied, individualist philosophy used in traditional beginner instrumental instruction, in order to make suggestions for a wider holistic and inclusive approach to meaningful teaching and learning. Despite advancements made in situating the whole student, embodied and inter(en)active, in the process of instrumental learning, there still seems to be a lack of strategies for practical application. By making use of philosophical, theoretical and educational developments with regards to balancing body, mind, environmental and social transactions in instrumental music education, I suggest an extended embodied framework in beginner instrumental teaching and learning which is aligned to the way in which a young child learns. Making use of an integrative literature review, both established and recent material was reviewed, critiqued and synthesised to create an extended embodied framework. Considering suggested strategies made in this study opportunities can be created for the young student to engage in extended meaning-making experiences.
Open Access
MK as cultural phenomenon: a case study documenting the dispersion of Afrikaans alternative music during the period 2005–2013
(University of the Free State, 2021-11) Carstens, Magdalize; Viljoen, Martina
MK was a channel on the premium package of the paid Digital Satellite Television Service (DSTV) of Multichoice and kykNET in South Africa during the period 2005 to 2013. The channel broadcast music 24/7, using mostly Afrikaans as medium. Through its content and programming, the channel helped to support and build a new identity for the post-apartheid Afrikaans-speaking youth aged 13 to 25 years. While highlighting issues central to the life world of the Afrikaans youth at the time, simultaneously, MK culture set the scene for unique, dissident forms of expression in Afrikaans. A large following was amassed within its first two years of existence, which turned the channel into a cultural phenomenon. As a ‘social influencer’, MK stimulated the formation of new sub-genres in the field of Afrikaans rock and alternative music, subcultures representative of the language use and cultural or countercultural practices of the Afrikaans-speaking youth, and a new-found freedom of self by means of alternative or dissident forms of music. Despite the channel’s widespread influence on various musical, technical, and social platforms, culminating in a lifestyle channel with music videos at its core, no in-depth research on MK exists. To address this hiatus, my study’s objective was to research MK’s philosophy and its legacy regarding the expansion of marginal Afrikaans identities as constructed in alternative Afrikaans music and its subgenres, including hip-hop and rap. Based on this contextual framing, the research question underpinning the study was as follows: How was the dispersion of Afrikaans alternative music related to MK as a cultural phenomenon, and how were social themes such as identity and branding influenced by its specific mode of address, as well as its meta-textual production of discourse? The qualitative methodology of ethnographic case study was found to be a productive approach for my research, documenting MK as a distinctive, single-case cultural phenomenon. As most of the channel’s social media and internet traces have been removed indefinitely, semi-structured interviews with MK stakeholders served as the primary source for my data collection, supplemented by a study of MK archival material. Interviewees were chosen based on their involvement and field of expertise that constituted and helped shape the media image of the channel. These included v production managers, critics, journalists, band members, and managers actively involved with MK during its existence. Archival materials included all MK Awards nominees’ music videos (2007–2013) and the channel’s broadcast programmes. As my study involved a relatively wide range of data sources, thematic analysis has proven to be relevant to my work. While traditionally, researchers have applied the method mainly to textual data, more recently, interview transcripts, field notes, historical or site documents, digital audio files and video files are included among other viable sources of information. Concerning the study of MK as a cultural phenomenon, the method offered a systematic approach to the analysis of my data, which involved the identification of themes or patterns of cultural meaning; coding relevant data according to themes; and interpreting the resulting thematic structures by seeking out overarching patterns as structured by a conceptual framework based on recent scholarship on Afrikaans identity. My research bought to the fore that the channel had been started for a specific target market, for which branding – on TV and at live events – was a major attraction. Visual marketing (on different levels and dimensions) established MK as a brand and helped to create newly established platforms for young musicians, artists, and technicians (such as audio and visual), while simultaneously extending the brand to lifestyle choices and social causes, some of which are still operative today. The variety of programmes, aided by young and ‘funky’ presenters, mediated the many facets of being a post-apartheid Afrikaans-speaking youth, providing a cultural safe space within which to rebel and process their troubled history. It also helped them to find a way forward. On a pragmatic level, MK impacted all Afrikaans rock or alternative bands during its time of existence, leaving a legacy and platform for bands to aspire to international standards for producing music or music videos. Yet, while the success and financial viability of MK were underlined by most of my respondents, one participant intimated that the decision to establish the channel had never been inspired ideologically, but (pragmatically) amounted to a business decision. In this sense, MK’s focus on an alternative Afrikaans niche market seemed to have failed as an economic strategy and eventually led to the channel’s demise. vi Within the ideological realm, contradictions were evident as the channel was found to have brought to the fore multifarious senses of self, most strongly expressed in the opposing identity formations of nostalgia and cynicism, represented in the ‘De la Rey’ phenomenon and Zef culture, respectively. While the Afrikaans nostalgia brand foregrounded exclusivist ethnocentric tendencies associated with the De la Rey subculture, Zef culture was seen as being supportive of a subversive, heterodox Afrikaner counterculture. In propagating both nostalgia and cynicism, the former glorifying the Afrikaner past, and the latter perverting exactly those notions of race and language upheld by the apartheid regime, MK was found to have contributed to new South African discourses grappling with the formation of new identities, and a definition and redefinition of terms such as ‘other’, ‘us’, ‘self’ and ‘them’, deserving of study and analysis. Key words: MK music channel; cultural phenomenon; post-apartheid youth; Afrikaans music; branding; identity formation; Afrikaans alternative music; Afrikaans-speaking youth.
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, Frelet
Contemporary 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.
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, Frelet
In 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.
Open Access
'n Historiese oorsig van die totstandkoming en ontwikkeling van die orkesprogram in die Oranje-Vrystaat
(University of the Free State, 1983-06) Steenkamp, Gerhardus Albertus Petrus; Potgieter, J. H.
Afrikaans: Die doel van hierdie verhandeling is om 'n historiese oorsig van die totstandkoming van die orkesprogram in die Vrystaat vanaf 1960 tot 1983 daar te stel. Om effektief aan te vul by die hoë standaard klavieronderrig wat reeds lankal bestaan het, is daar in 1960 besluit om vier strykers aan te stel wat 'n kwartet sou kan vorm en ook onderrig in strykinstrumente sou gee. Die voormalige oorheersing van klavieronderrig sowel as die aanvoorwerk van belanghebbendes word bespreek. Die verloop van gebeure wat die stigting van die kwartet voorafgegaan het, word volledig gedokumenteer. Aandag word verder geskenk aan die eerste optredes sowel as die verpligtings van die kwartet. Weens teleurstellende bywoningsyfers het die Bloemfonteinse Stadsraad, een van die drie samewerkende instansies, mettertyd belangstelling in die kwartet verloor. SUKOVS, wat intussen gestig is, het aangebied om die stadsraad se verantwoordelikheid oor te neem. Die aanloop tot die oorname, asook 'n aanhaling van verpligtings, word behandel. Die bedanking van die tweede violis, die krisissituasie rondom 'n persverklaring, en die inskakeling by die Universiteit word vermeld, asook die latere ontbinding van die strykkwartet en die hersiene ooreenkoms van hulle verpligtings. As direkte uitvloeisel van die besielende werk van die strykkwartetlede en in besonder mnr. De Wet, was daar in die loop van die sestiger- en sewentigerjare 'n omvangryke strykopbloei. Die Vrystaatse Jeugorkes het ontstaan en weens die, vertrek van mnr. De Wet in 1972 gedreig om in duie te stort maar is deur prof. Chris Swanepoeloorgeneem. Aandag word geskenk aan die redes vir die stigting, die eerste repetisies en optredes. SUKOVS se oorname van die orkes, verskeie konserttoere en die besoek aan Switserland word volledig behandel. Redes vir die opbloei van strykmusiek in die Vrystaat word genoem. Aangevuur deur die suksesvolle strykprogram, is daar in 1969 'n begin gemaak met 'n blaserprogram in dié Vrystaat. Die eerste aanstellings in hout- en koperblaasonderrig word bespreek. Weens die geweldige aanvraag na blaseronderrig is verskeie dosente gedurende 1973 aangestel terwyl onderrig na ander sentra uitgebrei het. Gedurende 1974 is 'n lang gekoesterde ideaal verwesenlik deur die stigting van 'n simfonieorkes in die Vrystaat. Die talle mislukte pogings van SUKOVS voor 1970 om 'n eie orkes te stig word as aanloop tot die totstandkoming van die orkes behandel. Daar word verder verwys na die Filharmoniese Vereniging se aandeel, en prof. Swanepoel se memorandum as eerste fase van die stigting. Na die finalisering van prof. De Groote se aanstelling en die samestelling van 'n voorlopige adviserende orkestekomitee, wat onderskeidelik as fases twee en drie van oorgang tot stigting bespreek word, is die orkes finaal saamgestel. Die eerste optredes en probleme rondom opera-begeleiding word behandel. Daar word gewys op die amperse ineenstorting van die projek sowel as die oorname deur die Universiteit in 1977. Die srunesprekings voor SUKOVS se terugname daarvan in 1979 word vermeld, asook die Niemandkommissie van ondersoek na die Uitvoerende Kunste. Aandag word breedvoerig geskenk aan die stigting van 'n NARUK-orkes met die gepaardgaande implikasies vir die Vrystaat se orkesprogram. Die Pienaar-komitee van ondersoek tesame met die nuutste verwikkelings rondom die aanbevelings word volledig bespreek. Die orkesprogram is een van die belangrikste ontwikkelings op ,die gebied van musiekbevordering in die Vrystaat, aangesien dit as opleidingsbron van orkesmusici dien. Die belangrikheid van samewerking tussen die Onderwysdepartement, Universiteit en SUKOVS, ter bevorvedring van die projek, kan nie genoeg beklemtoon word nie.
Open Access
Die ontstaan van legato soos beïnvloed deur die vervolmaking van die fortepiano
(University of the Free State, 1985-12) Bruns, Jeanette Dalina Herholdt; Human, J. L. K.
Afrikaans: Die oorkoepelende term, fortepiano, sluit die ganse familie van klaviatuurinstrumente, met snare en hamermeganiek, in. Fortepiano is die eerste Italiaanse benaming wat aan die instrument gegee is, tans in Afrikaans as klavier bekend. Toonproduksie by die klavier geskied deur middel van hamerslae op gespanne snare. Hierdie metode van toonproduksie lei daartoe dat die klavier in wese 'n slag- of perkussie-instrument is. Ten spyte van die perkussiewe aard van die klavier, word legato as een van die belangrikste speelmaniere in klaviervoordrag beskou. Legato, 'n Italiaanse begrip, beteken: musiek wat voorgedra word met 'n gladde verbinding tussen die tone en wat in musieknotasie met 'n fraseboog aangetoon word. Legato vind sy oorsprong in die middeleeuse musieknotasie (neume), legatura. Die legatura dui twee toonhoogtes, sowel as twee nootwaardes aan. Die oorsprong van die klavier kan so ver teruggespoor word as die dulcimer - 'n instrument wat in die Midde-Ooste ontstaan het. Die Pantaleon het uit die dulcimer ontwikkel en het uit 276 snare bestaan wat met hamers beslaan is. Bartolomeo Christofori het volgens oorlewering, die eerste klavier met hamermeganiek in 1709 gebou. Sedertdien is drastiese verbeterings in die instrument aangebring. Die klavier bekom sy finale vorm in 1874 met die toevoeging van die sostenutopedaal deur H.E. Steinweg. Elke klavier bestaan uit die volgende hoofonderdele: houtraam, klankbord met 'n kort en 'n lang brug, staalraam, snare wat oorkruis gespan is, hamer- en dempermeganiek (wat die pedale insluit), klawerbord en kabinet. Vanweë die bou van die klavier en die metode van toonproduksie, is daar sekere eienskappe wat legatospel bevoordeel en benadeel. Eienskappe wat legatospel in klaviermusiek benadeel is: - Die klavier bestaan uit 88 verskillende instrumente, kompleet met klawer, hamer- en dempermeganiek en gespanne snaar. - Die snare, hamers en dempers is nie identiese onderdele nie, maar word in drie registers gegroepeer. Die aanpassings in toonproduksie geskied daarom van klawer tot klawer, register tot register. - Die intensiteit van die toon is op sy grootste net nadat die snaar deur die hamer aangeslaan is. Daarna sterf die toon geleidelik weg. Legatospel word hierdeur benadeel, omdat 'n konstante geluidstroom op die klavier ontbreek. - Geraas in klavierspel word veroorsaak deur stampgeluide van byvoorbeeld die hamerkop wat teen die snaar bons. Geraas in klavierspel is te alle tye teenwoordig. Geraas benadeel die legatolyn, omdat dit verdere onderbrekings in die geluidstroom veroorsaak. Eienskappe wat legatospel in klaviermusiek bevoordeel is: - Pedaalgebruik maak simpatieke vibrasies moontlik. Sodoende word die toonduur verleng en 'n langer toonduur bevoordeel legatospel. - 'n Nie-perkussiewe aanslag bevoordeel legatospel. Die nieperkussiewe aanslag geskied wanneer geraas tot 'n minimum verminder word. Dit geskied deur klawerneerdalings voor te berei deur middel van 'n elastiese polsgewrig. Nie-perkussiewe aanslae het klein toonintensiteite en lang toondure tot gevolg. - Legatospel word ook bevoordeel wanneer die korrekte klawerneerdaling met die tydsverloop tussen klawerneerdalings gekoërdineer word. Die akoestiese eienskappe van legatospel is nie slegs veronde aan die onderdele van die instrument nie, maar ook verbonde aan die geslote area soos die konsertsaal waar klavieruitvoerings plaasvind. Klank wat in so 'n geslote area geproduseer word, word op twee verskillende maniere deur die luisteraar waargeneem: direk en indirek. Die indirekte klank word talle kere weerkaats en beinvloed legatospel ten sterkste. Om legatospel korrek waar te neem is dit ook noodsaaklik om die anatomiese en fisiologiese werking van die gehoororgaan en fisiese speelapparaat (hand en arm) van nader te beskou. Ten slotte word legatospel in styltydperke beskou. Die stylgebondenheid van legatospel is 'n kulminasie van al die voorafbespreekte fasette van die begrip, legato.
Open Access
Die waarde van algemene leerteorieë vir die klavieronderwyser met spesiale verwysing na die omlyningsmetode van Abby Whiteside
(University of the Free State, 1990-11) Van Zyl, Elsa Johanna; Human, J. L. K.
Afrikaans: Die verhandeling word ingelei deur 'n probleemstelling waarin die redes vir en metode van navorsing uiteengesit word. Hoofstuk een word aan 'n historiese oorsig van klavierpedagogiek gewy. Daar word gepoog om aan te dui hoe uiteenlopende faktore klavieronderrig en -tegniek beïnvloed het. Die ontwikkeling van die klavier as instrument en die opkoms van virtuositeit in die 19de eeu het In belangrike rol gespeelom onderrigmetodes te beïnvloed. Die bydraes van bekende klavierpedagoë word kortliks bespreek. Hierby is die vroeë klawerbordspelers, die Weense skool van klavierspel en die meer tegniese benadering van die vorige eeu ingesluit. Denkrigtings in die twintigste eeu wissel van oorbeklemtoning van die speelapparaat tot die ontdekking van die rol van die brein in klavierspel. Hedendaagse pedagoë streef na 'n gebalanseerde benadering wat uit die kennis van die verlede sowel as nuwe bevindings put. Hoofstuk twee is 'n bespreking van toepaslike opvoedkundig-sielkundige beginsels. Namate kennis van die leerproses toeneem, behoort onderrigmetodes ook te verbeter. Die doelstellings van klavieronderrig word in oënskou geneem, asook die vereistes wat aan 'n klavieronderwyser gestel word. Aangesien die meeste hedendaagse leerteorieë uit bekende denkrigtings ontwikkel het, word 'n kort historiese perspektief van opvoedkundig- sielkundige beginsels gegee. Faktore wat die leerproses beïnvloed word bespreek. Daar word ook kortliks aangetoon hoe algemene leerbeginsels op die leerprosesse van klavierspel van toepassing gemaak kan word. Die bydraes van enkele prominente opvoedkundiges word ingesluit. Hoofstuk drie beskryf die metode van omlyning van die vorm ("outlining") wat deur 'n Amerikaanse pedagoog Abby Whiteside ontwikkel is. Sy het bevind dat 'n gebrek aan 'n geheelbeeld ('n totale klankvoorstelling) die oorsaak van baie pianistiese probleme is. Hierdie oortuiging kom ooreen met die Gestalt-teorie, wat in die vorige hoofstuk as 'n belangrike leerbeginsel uitgesonder is. Whiteside se aanwending van die omlyningsmetode by die aanleer van In aantal Etudes van Chopin word uiteengesit. Haar houding jeens tradisionele klavieronderrig word ook in oënskou geneem. Hoofstuk vier is 'n evaluering van Abby Whiteside se omlyningsmetode. 'n Aantal klavierleerkragte is gevra om die metode met leerlinge op die proef te stel. Deur middel van 'n vraelys is verslag van die leerlinge se vordering gedoen. 'n Hele aantal insiggewende bevindings het uit die ondersoek geblyk. Daar is tot die gevolgtrekking gekom dat dit die moeite loon om kennis te neem van die ontwikkeling op die gebied van die opvoedkundige sielkunde. Nuwe onderrigbenaderings kan met vrug op die proef gestel word.
Open Access
'n Vergelykende ondersoek na die betekenis van die klaviersertifikaateksamens van verskillende eksaminerende liggame in die musikale ontwikkeling van die Suid-Afrikaanse klavierleerling
(University of the Free State, 1982-06) Fourie, Louie; Human, J. L. K.
Afrikaans: Die eerste hoofstuk is gewy aan 'n bespreking van die terminologie, evaluering en meting om sodoende 'n uiteindelike definisie van die begrip musiekeksamen te bepaal. 'n Eksamen word as een van die belangrikste evalueringsprosesse beskou en 'n duidelike afbakening van die begrip skyn noodsaaklik te wees ten einde die plek en waarde daarvan te begryp. Hoofstuk twee is gewy aan 'n bespreking van die oorsprong van die musiekeksamenstelsel in Suid-Afrika. Die historiese prosesse in die ontwikkeling van die musiekeksamens van die Associated Board of the Royal Schools of Music, die Trinity College of Music, London en die Universiteit van Suid-Afrika is indringend ondersoek en volledig bespreek. Die huidige sowel as die ouer leerplanne van die klaviersertifikaateksamens van die Universiteit van Suid-Afrika, asook ooreenstemmende huidige leerplanne van die Britse klaviersertifikaateksamens is bestudeer en met mekaar vergelyk. Hoofstukke drie, vier en vyf is aan die bogenoemde aspekte gewy. In Hoofstuk ses is die rol en bydrae van persone wat by die musfekeksamens betrokke is, ondersoek. Die eksaminator, onderwyser, ouer en opsiener se verwantskap met die kandidaat, en die kandidaat se streservarings ten opsigte van die eksamensituasie is van naderby beskou. Die sewende hoofstuk is gewy aan die huidige situasie in Suid-Afrika. Dit wil sê die toepassing van klaviersertifikaateksamens en die invloed daarvan op musiekonderrig soos in Suid-Afrika ondervind word, is ondersoek en verskeie gevolgtrekkings en aanbevelings is gemaak. Die laaste hoofstuk bevat 'n samevatting van die ondersoek. Algemene gevolgtrekkings is gemaak, terreine vir verdere navorsing is voorgestel en die praktiese implikasies van die studie is bepaal.
Open Access
'n Konsepplan vir groeponderrig in viool en altviool vir trappe 1 tot 3 vir buitekurrikulêre musiek van die Departement Onderwys en Kultuur
(University of the Free State, 1995-06) Van Niekerk, Anna Maria; Ackerman, B. B.
English: The changing situation in the new South-Africa in which education is compulsory by legislation for all race groups between the ages 6 and 16 resulted in an unprecedented educational boom with a dramatic growth of pupils who must be accommodated. Under these circumstances the music tuition is much in demand. Music tuition has been traditionally conducted in the pupil-teacher ratio of 1: 1. New options must be found to accommodate the growing numbers and group teaching seems to be the logical answer. Group teaching however, must be regarded as complementary to individual teaching, rather than a substitute there-of. For the purpose of group teaching, pupils must be carefully selected in order to ensure that they conform to the minimum requirements for music tuition. The numerous technical points which must be taken into consideration when teaching a stringed instrument, necessitate the groups being restricted to six beginners or ten more advanced pupils. The group situation must never be applied rigidly. Flexibility must be retained, enabling the more gifted pupils to advance from one group to another. The concept plan for group teaching for beginner string players, the outcome of this research, is based on a holistic approach which provides for musical edification over a broad spectrum and which addresses the different components of music, namely technic, aural training, sight reading, theory, general musical knowledge and repertoire. During the lessons at least ten minutes must be devoted-to each section. The success of the presentation of a lesson is largely dependent on the availability and application of suitable teaching aids. The commitment of the teacher is another important factor. Within the framework of the group he must be able to treat each pupil as an individual. In chapter 9 a number of tutors, suitable for beginners are discussed. There are, however numerous other tutors available from which the teacher can make a selection. The resourceful teacher will always be on the lookout for new material, ensuring that the lessons do not degenerate into stereotyped repetition. Of special importance is the reading corner, with books covering different aspects of music, thus enabling the pupils to become acquainted with these aspects of music in an informal way. This integrated plan for group music teaching presented with the necessary consideration, know-how and enthusiasm can result in a most enjoyable experience. The researcher is convinced that it can make a major contribution towards furthering music literacy in South Africa and concurrently cultivate a love for music amongst the vast numbers of children previously excluded from such activities.
Open Access
Training music teachers for multicultural education in South Africa
(University of the Free State, 2000-05) Dzorkpey, Theodore Kwadzo; Heunis, G. J. L.
English: The acknowledgment and appreciation of diversity in South Africa can only come about if all racial and ethnic groups of the nation are able to understand the similarities that bind them and the differences that distinguish them as entities of one (rainbow) nation. In this regard, the role of education is primo facto. Thus, the need for a paradigm shift to multi cultural education cannot be overemphasized. Music education, which still relies to a large extent, on Euro-centric attitudes and principles, has to redefine its purposes and principles to reflect multicultural dynamics of world musics. Couple with the multicultural demand in education in this country are the demands of OBE and curriculum 20005. With regard to these demands and the phenomenon of globalisation, a curriculum framework for training music teachers for Multicultural-outcome-based education in South Africa has been proposed.
Open Access
Die lewe en werk van Gabriel Gideon Cillie (1910-2000) in kultuurhistoriese perspektief
(University of the Free State, 2006-11) Erasmus, Joanita; Viljoen, M.
English: This study aims to outline the life and work of Gabriel Gideon Cillié (1910-2000). In his lifetime Cillié was an authority in the fields of Mathematics and Astronomy. He also made a particularly meaningful contribution to the development of the South African culture historical domain, as a choir master and organist, as an arranger of religious choir music and folk songs, and also as a cultural leader. The methodological framework of this project is underpinned by the systematic biographical model. In this respect, the (conservative) point of departure is that the documenting of Cillié’s life and work should be based as accurate a report of the available data as is possible. Although no claim is made to factual infallibility, or to the fact that the construction of Cillié’s persona as presented here is the only, or last, ‘word’ on the topic, this work represents a selective exploration of material not otherwise researched. Two of the appendixes provide a systematisation of his legacy that could serve as a springboard for further research. Concerning the chapters on Cillié's culture-historical contribution, the most important conclusion to be drawn is the fact that, despite certain critical reservations, he significantly contributed to the history of Reformed church music in South Africa. Seen against the background of the economic recession which affected church music in the Afrikaans-speaking Reformed churches during the 1930s, the importance and timeliness of this contribution is particularly evident. By means of extensive research on his part, which resulted in public lectures, letters in journals and newspapers, as well as through numerous popular and popular-scientific publications, Cillié did much to establish an awareness of the necessity to preserve this particular cultural legacy. Related to these activities, it has been found that he contributed much to the building and renovation of pipe organs within the Afrikaans Reformed community. In many churches throughout the country there are organs designed, and, in most cases, also inaugurated by Cillié. This contribution he provided free of charge at a time when there were few other people in the country to take the lead in this regard. As the choir master of the Stellenbosch University Choir and the choir of the DR Mother Church, Stellenbosch, and as the founder of both the choir of the Theological Seminary and of the Stellenbosch Student Song Festivals, Cillié made his mark within South African choral culture. As a composer and arranger he enriched the Afrikaans choral repertoire. With the exception of his seven cantatas, Cillié did not produce large-scale compositions, but, in the arranging of music, he may be regarded as one of the most productive arrangers in our country active during the twentieth century. As a result of his intense interest in things historical, he also collected and notated a substantial collection of ‘liederwysies’ (archaic hymn tunes) – which, in itself constitutes a most valuable cultural legacy: even today, his work on the origins of the Afrikaans hymns is an important reference work. The scope of Cillié’s leadership within the ambit of the Afrikaans cultural organisations is reflected in the fact that, for a considerable time, he held key positions in several committees, and also received an exceptional number of awards and merits for his contributions. On the personal level, too, Cillié lived with great distinction. He was highly respected as a colleague and is remembered with great warmth and appreciation. The members of his immediate family members depict him as a disciplined and hardworking spouse and father whose dedication to his task sometimes involved painful sacrifices – but who, at the same time was firmly committed to family life. Against this background, the image of Cillié, as constructed in this study, is one of having exceptional talent, and of living a life of sustained dedication to the ideals for which he stood. His contribution was influential and formative within his own lifetime, and its importance, even when making allowance for certain critical reservations, cannot be denied.
Open Access
Musical memory and musical analysis: strategies for the memorization of selected tonal piano compositions
(University of the Free State, 2008-11) Froneman, Anchen; Viljoen, N. G. J.
English: Memorization plays an integral part of musical perfromance practice, especially as it is generally expected of pianists to memorize works for public performance. Since music is a temporal phenomenon, it relies completely on our ability to store and relate information relating to music. Yet despite this prominence of musical memory, certain hiatuses remain within the existing literature on the topic. Although some authors emphasize the importance of musical analysis, a clear explication of its importance and role in the memorization process is lacking, and strategies for the development of effective memorization are not adequately outlined. The study therefore proposes that specific focus areas and principles of analysis, combined with the organization and logic of music, will complement and promote the functioning of the musical memory system. With regard to the analysis of tonal music and to analytical orientation, the study draws on the ideas of Heinrich Schenker, especially his notion of tonal music as a system of internal coherence which allows the analyst to understand its distinguishing features, transformation of ideas, and the logic of its motivic activity. This study thus investigates literature on memory, musical memory and musical analysis to find common ground for the development of analytical strategies for memorization. These strategies propose an interactive system of analytical acts and focuses based on the association or relation of material within a composition. The analytical strategies range from the classification of material to the uncovering of compositional design and logic through analytical interpretation. The application and functionality of these strategies are illustrated in four analytical case studies involving four selected tonal piano compositions from the 18th and 19th centuries. The strategies not only demonstrate the compatibility and cross-fertilisation of analytical and memory processes, but also enable performers to comprehend a composition in terms of its coherent structural content, its distinguishing tonal features, as well as its design and logic. In so doing, effective and reliable memorization is ensured.
Open Access
An exposition of musical arts education in Malawi
(University of the Free State, 2013-01) Ligoya, Alinane Mildred; Barz, Gregory; Pretorius, Gerda
English: Musical Arts are a vibrant and integral part of life and culture in the Jali area. Zomba district. Southern Malawi. The musical arts types (magule) are a means by which culturally significant knowledge. attitudes and skills are expressed and transmitted. to ensure the longevity of the way of life in Jali. This is a study of the musical arts education system as it exists in the Jali area. Due to the nature and intimate role of the magule in the culture of Jali, to learn the magule in the Jali area is to learn critical aspects of how and why the culture and everyday life of the community is both informed and re-formed. Inevitably. this is also a study of the culture of people in the area. giving this music education study an ethnographic approach. I observed. documented. and participated in the performance of three magule, namely Malangalanga. Manganje and Mganda. Interviews were conducted with adults as well as children. Through these means I have attempted to discover how the musical arts education system operates. Learning in this musical arts education system is practical and marked by high efficacy on the part of the learners. Their motivation resides in the desire to participate. and interact. A learner benefits through a combination of both informal and formal learning. Magule are learnt through the informal techniques of observational learning. play. trial-and-error. peer education and cooperative learning. Children observe and imitate through trial-and error. during play either alone or with other children. Formal education occurs during initiation and in apprenticeship. Community is the bedrock on which cultural practices including the magule find their meaning and purpose. This fact is well documented in the culture and language through proverbs such as, Mutu umodzi siusenza denge (one head cannot hoist up a roof-to successfully accomplish a task one needs the help of others). The overarching objective of the musical arts education system is twofold, To express. communicate and embody the community; and thereby building character. Both community building and character building are geared towards cultivating Umunthu (humanness). Being human ( munthu) is understood as more than a biological fact. but is a qualitative distinction. This distinction is based on whether a person exhibits attitudes and behaviour that shows values for others' wellbeing. and is able to live morally. in adhering to the society's values and beliefs. Umunthu is an internal state that manifests externally in khalidwe la bwino (good/moral behaviour). Umunthu and its corresponding behaviour and attitudes. which the culture deems desirable for communal wellness, are obtained through the process of enculturation and manifests in everyday life and in magule. Ultimately. the learners are expected to become fully functional and productive members of the community; equipped with the knowledge. skill. attitudes and experience particular and useful to the community of Jali; able to participate fully in the performances and all that they signify. Learners are expected to posses Umunthu which results in khalidwe Ja bwino (good behaviour). leading to the transmission and perpetuity of the culture of Jali. specifically through magule.
Open Access
The pathway of music acculturation: a duet between parent and infant
(University of the Free State, 2013-11) Pretorius, Gerda Georgina; Thom Wium, Matildie; Van Niekerk, Caroline
English: In designing a pathway model of music acculturation, it is proposed that infants are born musical, are ready at birth to process musical information and motivated to take part in musical communication. This position contests views that regard musical development as a matter of biological growth, or musical aptitude as an exclusive talent. My position also challenges the perception that organised music-educational settings offer a complete music acculturation process. Such views pay no attention to the fact that infants learn musics of their culture by way of adapted behaviour which emerges as a result of repeated, spontaneous and arousing stimulating experiences. Due recognition also needs to be given to the fact that the daily absorption of a variety of musical literature, the experience of being sung and chanted to, and the experience of being moved to music, are essential for processes of acculturation as the foundational phase of audiation. Thus, the thesis of this study is that acculturation takes place in an intimate reciprocal relationship. The mother-infant dyad express their emotional bond by means of a non-verbal, musical duet. In experiences of primary intersubjectivity, infants display their inherent musical sensitivity when adapting to the prosodic contour and temporal structure of the mother’s sing-song conversation and multi-modal movement. The intuitive conversation is described as infant-directed speech and identified as a musicalemotional narrative. A secondary form of psychological intersubjectivity (companionship) emerges as a result of the dyad’s growing reciprocal confidence when attuning to subjective experiences of the other by way of intuitive musical behaviour. It is argued that musical aptitude develops by way of early and experience-driven reorganisation of neuronal networks. These networks are activated by way of frequent absorption of and interactive response to music of different musical contexts in the home environment. This situation indicates the parental role in unstructured musical guidance of infants. Applying a bioecological systems approach, this pathway model determines that early competencies, cultural influences and social relations all play roles in foundational processes of music acculturation. Parents should be informed accordingly; therefore basic principles for an appropriate approach towards musical parental guidance (MPG) are extrapolated.
Open Access
Griqua hymnody: a musical ethnography of Griqua identity through song
(University of the Free State, 2015-01) Meyer, Chester Aubrey; Barz, G.
English: The study presents the hymnodic practises of the Griqua community belonging to the Kranshoek based Griqua Independent Church. The research traces the history of the Griqua and their hymns from eighteenth century missionaries until the spiritual and political work of A.A.S. Le Fleur I in the twentieth century. Issues regarding Griqua identity and the effects of colonisation and apartheid are highlighted and placed within the current South African context. The research and fieldwork further demonstrate that hymnody becomes the manner in which the Griqua community perform their identity as a marginalised community in South Africa. Ethnographic narratives illustrate the true nature of the Griqua hymn as well as the profound effect it has on the communal and personal lives of this community. The distinctive performance practice of these hymns referred to by the Griqua community as lof, played a pivotal part in the formation and sustaining of the twentieth century Griqua ethnic identity and remains a marker of Griqua identity for the followers of Le Fleur today. The study furthermore investigates the role hymnody fulfils in the everyday lives of members as well as the manner in which it attracts new members and retains the Griqua youth. The musical ethnography utilized in this study positions Griqua hymnody as a unique South African expressive culture.
Open Access
'n Bespreking van liturgiese orrelmusiek, bande 1 tot 6
(University of the Free State, 1990-06) Groenewald, Wilna; Conradie, E. M.
Abstract not available
Open Access
The role of emotional intelligence in music performance anxiety
(University of the Free State, 2005) Jansen van Rensburg, Magdalena Petronella; Viljoen, M.; Grobler, A. A.
The aim of this article is to provide a theoretical frame of reference for Music Performance Anxiety (MPA) and Emotional Intelligence (EI) through an investigation of existing theories concerning the two constructs. The most prominent approaches to the development of MPA are discussed, followed by the different theories concerning EI. Tangential points between MPA and EI are then highlighted. The article is underpinned by the hypothesis that EI is a cognitive-positive way of processing emotions and that it can be used to the advantage of musicians. While the progress of the EI paradigm has been impressive, much remains to be explored.
Open Access
The Chewa art of drumming and its influence on modern Malawian music
(University of the Free State, 2009-05) Nthala, Grant Macloly Moloko; Huyssen, Hans
English: Traditionally appropriate Chewa dance performances require specialized performers: singers, hand-clappers, organizers, dancers and drummers. As performers of Chewa dances grow into the necessity of surviving rival challenges and presumably malicious mysterious attacks Chewa music and dance is strongly associated with ritual, mystery, and enigmatic expression. While various dances often share common features – for example, songs are sometimes transferred from one dance to another with only slight changes in tempo; dance movements may be similar in a related family of dances; and the basic Chewa hand-clapping pattern is a general characteristic – it is the accompanying drumming rhythms that determine each dance‟s unique identity. Since the drumming is thus the key distinguishing factor it is regarded as the essence of the dance in Chewa communities. It helps articulate the purpose for which dance music is made; it contributes to the expression of cultural values through its performance; and it contains intrinsic dogmatic information on Chewa social structures, time and again bringing them home to both the performers and the audience. The drum mobilizes the people to a dancing event, unites the communities through the place that it takes, and symbolically represents the people‟s sovereignty. The drum is the centre of every performance and it is jealously preserved to remain such. Mystic forces and beliefs are involved in its construction, preservation and performance. According to the indigenous Chewa people this ensures success and protection of both the drumming or the drum and the dancers. Adopting the approach of musicology and ethnomusicology, this dissertation discusses the role played by indigenous music in Chewa societies with focus on drumming as an important element in the making of such music. The discussion describes the process of drum making and its application to the main Chewa dances. From personal background, experience, and a close compassionate vantage point I attempt to describe in detail and contextually the intricacies of three important Chewa dance forms – Gulewamkulu, Chimtali and Mganda – as media for the drumming expression. The study furthermore narrates the history of the Chewa ethnic group as well as its social structure, and how the drumming art is transferred both within and outside the indigenous Chewa communities. The study attempts to open up a previously rather obscure field of research and inspire and facilitate further investigation into the material. It relies on published and unpublished books and theses, field research aimed at obtaining information not covered in the publications, audio-visual recordings, and discussions with other researchers who have interest in Chewa culture and music.
Open Access
Nico Carstens as innoveerder van Suid-Afrikaanse populêre musiek
(University of the Free State, 2013-01) Louw, Susanna Helena Robina; Viljoen, N. G. J.; Viljoen, M.
English: This study focuses on the contribution of the South African accordion player and composer, Nico Carstens. As one of the most notable early exponents of South African light music, Nico Carstens has delivered a prolific output that has not only earned him the status of a national music icon, but has also resulted in international fame. It is remarkable that, throughout his career, he contributed more than 2 000 hits. His greatest success, by far, was the song “Zambezi”, which earned him instant international recognition, and was subsequently performed by world-renowned stars such as Eddy Calvert, Bert Kaempfert, The Shadows and Johnny Dankworth. In spite of Carstens’ importance within the field of South African light music, up to now, no comprehensive study has yet been undertaken to determine and document his contribution. Therefore, a more profound study on the meaning of his work with regard to the development and wider exposure of South African light music was necessary. This study focuses on the ways in which Carstens has managed as composer and performer to elevate and enrich the traditional boeremusiek idiom by means of a fusion of different musical influences and styles to a stylised, more comprehensive, though very accessible South African popular music identity. Firstly, a biographic perspective is presented offered in which the most important events during Carstens’ music career, linked directly with his development of South African popular music, is highlighted. Secondly, his artistic contribution is described at the hand of three topics, namely those of his compositions, his discography and his role as entertainment artist. The value of the research is that this study is the first of its kind to offer a profound investigation and valuation of Carstens’ music and his contribution to South African light music.
Open Access
An exposition of musical arts education in Malawi
(University of the Free State, 2013-01) Ligoya, Alinane Mildred; Barz, Gregory; Pretorius, Gerda
English: Musical Arts are a vibrant and integral part of life and culture in the Jali area, Zomba district, Southern Malawi. The musical arts types (magule ) are a means by which culturally significant knowledge, attitudes and skills are expressed and transmitted, to ensure the longevity of the way of life in Jali. This is a study of the musical arts education system as it exists in the Jali area. Due to the nature and intimate role of the magule in the culture of Jali, to learn the magule in the Jali area is to learn critical aspects of how and why the culture and everyday life of the community is both informed and re-formed. Inevitably, this is also a study of the culture of people in the area, giving this music education study an ethnographic approach. I observed, documented, and participated in the performance of three magule , namely Malangalanga , Manganje and Mganda . Interviews were conducted with adults as well as children. Through these means I have attempted to discover how the musical arts education system operates. Learning in this musical arts education system is practical and marked by high efficacy on the part of the learners. Their motivation resides in the desire to participate, and interact. A learner benefits through a combination of both informal and formal learning. Magule are learnt through the informal techniques of observational learning, play, trial-and-error, peer education and cooperative learning. Children observe and imitate through trial-anderror, during play either alone or with other children. Formal education occurs during initiation and in apprenticeship. Community is the bedrock on which cultural practices including the magule find their meaning and purpose. This fact is well documented in the culture and language through proverbs such as: Mutu umodzi siusenza denga (one head cannot hoist up a roof-to successfully accomplish a task one needs the help of others). The overarching objective of the musical arts education system is twofold: To express, communicate and embody the community; and thereby building character. Both community building and character building are geared towards cultivating Umunthu (humanness). Being human (munthu ) is understood as more than a biological fact, but is a qualitative distinction. This distinction is based on whether a person exhibits attitudes and behaviour that shows values for others’ wellbeing, and is able to live morally, in adhering to the society’s values and beliefs. Umunthu is an internal state that manifests externally in khalidwe la bwino (good/moral behaviour). Umunthu and its corresponding behaviour and attitudes, which the culture deems desirable for communal wellness, are obtained through the process of enculturation and manifests in everyday life and in magule . Ultimately, the learners are expected to become fully functional and productive members of the community; equipped with the knowledge, skill, attitudes and experience particular and useful to the community of Jali; able to participate fully in the performances and all that they signify. Learners are expected to posses Umunthu which results in khalidwe la bwino (good behaviour), leading to the transmission and perpetuity of the culture of Jali, specifically through magule.