Klavierdidaktiese problematiek in die onderrig van siende leerlinge deur blinde leerkragte in Suid-Afrika

English: The author of this treatise is a musician and pedagogue. He became blind at the age of four. At the time of the completion of this treatise, the author has had more than thirty years of teaching experience. The motivation for this treatise has been to identify deficiencies such as the shortage of literature directed towards the blind piano pedagogue, discrimination against blind teachers in the open professional job market and autogenous problems concerning the blind piano pedagogue. The aim is to analyse pedagogical problems concerning blind music teachers of seeing pupils, to suggest solutions to said problems and to suggest guidelines in the training of blind music teachers. Method of research – a study of relevant literature, personal interviews with individuals, correspondence with educational departments; analysis of facts gleaned from questionnaires to blind music teachers, ex-pupils and headmasters and an intensive analysis of empirical findings based upon personal experience. Approximately 0,2% of the population of first world countries is estimated to be visually impaired. About 29% of the visually impaired White pupils are totally blind and therefore dependent on braille. The remaining 71% of the visually impaired can be divided into two categories: individuals with limited vision who are also dependent on braille and persons who can, with the aid of electronic and optical devices, read printed matter. Two schools, Pioneer School (Worcester) and Prinshof School (Pretoria) provide specialized education for blind European children in the Republic. Subjects and syllabi correspond with subjects and syllabi in ordinary schools. The external examinations in standard 10 as well as the university courses are the same as those for students who can see. Prospective blind music teachers should be carefully selected as to their efficiency, qualifications and their ability to communicate with their prospective colleagues and pupils. At the moment there are only 15 visually impaired music teachers in the Republic: 1 lectures at a university, 1 teaches at a technical college, 5 are appointed at schools, 4 teach music privately, 4 teachers, who do not use braille, are not taken into consideration for this treatise. Autogenous problems with which blind teachers have to cope, are: 1. The attitude of society toward the blind: Ultimately the responsibility lies with the blind music teacher to enhance his image in the community. 2. Employment: 75% of the educational departments in the Republic are willing to employ efficient, qualified blind music teachers. 3. Mobility: The totally blind teacher will have to solve this problem satisfactorily. 4. Classroom situation: Braille is used for controlling the pupils’ work; correction of the pupils’ written work needs the assistance of a seeing person. 5. Discipline: Individuals and small groups are handled efficiently. 6. New music in braille: As in overseas countries the services of volunteer transcribers will alleviate the pressure. In France, Louis Braille (1809 – 1852), developed the raised dot system during the first half of the nineteenth century. The braille cell consists of 6 dots; it provides 63 possible combinations. Besides the alphabet, punctuation marks and figures, there is a complete code for writing music in braille. There are several braille printing presses abroad, but in the Republic of South Africa the Braille Music Library and the Braille Printing Press of the Pioneer School at Worcester are, respectively, concerned with the circulation and publication of music in braille. It is of paramount importance that the prospective blind music teacher should have a thorough knowledge of staff notation before embarking on a teaching career in a school for seeing children. In the teaching of staff notation to seeing pupils the blind teacher uses a variety of educational aids at his disposal. The syllabi for music education in the secondary school as well as the syllabi for extra-curricular music are supplied by the various educational departments. The syllabi for the external music examinations of UNISA, The Associated Board of the Royal Schools of Music (ASB) and the Trinity College of Music are obtainable from the respective boards. Apart from a brief discussion of the traditional Realism of Harry S. Broudy and the contemporary Pragmatism of Foster McMurray, the author formulates his philosophy of music education. Ten educational learning processes as well as six teaching methods as applied to music are discussed. The methodology of the blind music teacher is based on a personal relationship with his pupils, a thorough knowledge of this subject, a cultivated aural perception and a reliable memory. In the case of a beginner or while an advanced pupil is studying a work with hands separately, a braille copy will suffice in controlling every aspect of the pupil’s playing. When, however, a piece is being performed at the required tempo, it is essential that the blind piano teacher knows the music by heart. The piano teacher will thus be able to demonstrate difficult passages, technical problems and fingering to the pupil. Each aspect of the pupil’s musical education should be cultivated at every lesson. Harmony is done at the keyboard. In theoretical subjects, apart form explanations, various educational aids are implemented to complete tuition. Correction of the written work of the pupils is done with the aid of advanced pupils, a colleague or a wife. The method of pupils exchanging books with a view to marking can be utilized successfully by the blind teacher. Different aspects of piano technique such as technical exercises, scales, legato, staccato, finger work, pedaling and phrasing are discussed. Questionnaires which were completed anonomously by seeing ex-pupils depict a competent image of the blind piano teacher. The relationship between teacher and pupil, the blind piano teacher’s competency, his educational achievements as well as his ability to impart knowledge were evaluated as very good. An opinion poll among headmasters who have experience of blind piano teachers on their staff, has recorded the blind piano teacher as competent in his subject with a good rating in teaching achievements. In the majority of cases the teacher is accepted by the pupils and their parents and well adapted to the normal school situation. The blind piano teacher’s ability for class discipline is adequate and his mobility sufficient. The blind piano teacher’s efficiency in extra-mural activities is adequate. With regard to autogenous problems he needs some assistance from a seeing person. Harry Greenwood (1868 – 1948) was the first qualified blind music teacher in South Africa. Harry Greenwood started the training of blind musicians in piano and organ in 1894 at the School for the Blind, Worcester. During the past ninety years music education by blind music teachers has been confined to Europeans only. The Department of Education and Training (Black People), the Department of Education and Culture Administration: House of Delegates (Indians) and the Department of Education and Culture Administration: House of Representatives (Coloureds) have declared that they are willing to appoint efficient, qualified blind music teachers. With the development of technology more efficient aids are available which enable the blind piano teacher to procure employment and thus make a significant contribution to piano teaching in the Republic of South Africa.