Misalignment of University-Based Music Education with Modern-Day South African Musical Praxis

2021 ◽  
pp. 151-164
Author(s):  
Madimabe Geoff Mapaya
Keyword(s):  
Music Education ◽  
South African

Education Through Music: Towards A South African Approach

1993 ◽  
Vol 10 (3) ◽  
pp. 255-261
Author(s):  
Elizabeth Oehrle
Keyword(s):  
South Africa ◽  
Music Education ◽  
South African ◽  
Present Situation ◽  
Music Educators ◽  
Intercultural Education ◽  
Western Music ◽  
African Music ◽  
Paradoxical Situation ◽  
Music Making

Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.

scholarly journals Benefits of music education to previously disadvantaged South African learners: Perspectives of music teachers in the greater Tshwane Metropolis

2019 ◽  
Vol 38 (1) ◽  
pp. 52-65
Author(s):  
Inette Swart
Keyword(s):  
Music Education ◽  
South African ◽  
Role Models ◽  
Music Teachers ◽  
Geographical Area ◽  
Music Programs ◽  
Academic Improvement ◽  
The Government ◽  
Shed Light

This article focuses on the role of access to music education as an agent of social change and as an important way of empowering previously disadvantaged learners, putting this forward as an argument against the proposed downscaling of music in schools as advocated by the government. This narrative inquiry shed light on the perceptions of participating teachers associated with various music programs in the same larger geographical area on the benefits of music education to learners, including instilling discipline and a sense of purpose, general academic improvement, opportunities for social connection, creating opportunities for income generation and future employment, providing role models for children who often came from broken families, and safety and keeping children off the streets, to name but a few. Innovations necessitated by resource allocation constraints are perceived by participating teachers to include sharing a limited number of instruments, teaching in groups, converting general facilities into teaching venues and finding creative ways of teaching theory. The sustainability of these programs is perceived by participating teachers to depend on feeder programs, former students qualifying as teachers, and support and donations from one or more outside sources. It is argued that it is necessary to heed the voices of previously disadvantaged people who are now benefiting from improved access to opportunities and to listen to their opinions about the advantages of music education.

How Musical We Are: John Blacking on Music, Education, and Cultural Understanding

2000 ◽  
Vol 48 (4) ◽  
pp. 336-359 ◽  
Author(s):  
Patricia Shehan Campbell
Keyword(s):  
Music Education ◽  
South African ◽  
The United States ◽  
Musical Experience ◽  
Musical Culture ◽  
Musical Thought ◽  
Professional Career ◽  
The United Kingdom ◽  
And Behavior

The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork and teaching of music as a social and cultural force, and finally to his teaching and scholarly contributions as an academic powerhouse and articulate advocate for the education of children in and through music in the United Kingdom, the United States, and internationally. An examination follows to gauge the extent of John Blacking's fieldwork and theoretical views relevant to music, education, and culture, with particular attention to Blackings approach to the study of children as a distinctive musical culture and the nature of their musicality, the central role of physical movement and dance as integrated within the musical experience, and the development of world musics in educational programs.

The Force Field Model applied to a Music Education teacher training framework in a South African context

2021 ◽  
pp. 1-15
Author(s):  
Ronel De Villiers
Keyword(s):  
Teacher Training ◽  
Music Education ◽  
Force Field ◽  
Student Teachers ◽  
South African ◽  
Field Model ◽  
National Curriculum ◽  
Education Institution ◽  
Cultural Backgrounds ◽  
Push And Pull

Abstract South African Higher Education Institution (HEI) Music Education (MusEd) lecturers’ perspectives regarding the contextual, institutional, biographical and programmatic forces that stem from the theoretical framework Samuel’s (2008) Force Field Model (FFM) were explored. The study was approached from an interpretivist paradigm and conceptually drew qualitative data generated from eight case studies to gain an in-depth understanding of the push and pull factors that influence professional practices. The major findings of the study indicated that lecturers should embrace transformation principles to decolonise the national curriculum. Biographic viewpoints have to be modified from a singular Western Classical viewpoint to integrate African Indigenous perspectives. To teach MusEd, elements and activities from diverse cultures as well as teach student teachers from diverse cultural backgrounds result in MusEd as a change agent to develop social cohesion between multicultural communities. Theoretical knowledge integrated with practical activities where the focus changes from achieving an individualistic perfect end product to the continuing process of ‘musicking’ together are proposed. The lecturers as facilitators, therefore, focus on a student-centred philosophy to guide student teachers’ development in MusEd. Insights gained from this study propose a future cosmopolitan teacher training framework.

Creating Caring Micro-Assessment Cultures in South Africa

2019 ◽  
pp. 429-446
Author(s):  
Janelize van der Merwe
Keyword(s):  
Music Education ◽  
South African ◽  
Care Ethics ◽  
General Music ◽  
Aural Skills ◽  
The South ◽  
Nel Noddings ◽  
School Music ◽  
Practical Experiences ◽  
And Performance

This chapter explores the concept of assessment in music education through the lens of care ethics by (1) providing an overview of “care” as practice, disposition, and relation; (2) discussing personhood through the lens of care ethics; (3) examining “assessment as care” and understandings of “relationship” as developed by Carol Gilligan and Nel Noddings and examining concepts of care ethics and “self-fulness” as developed by Marissa Silverman; and (4) exploring and applying these concepts in the context of the South African Grade 10 to 12 Independent Examinations Board (IEB). The author’s practical experiences with the South African Grade IEB include teaching secondary school music in the general areas of aural skills and music theory, general music knowledge and analysis, and performance.

The transformation of music education: A South African case study

2015 ◽  
Vol 32 (3) ◽  
pp. 315-322
Author(s):  
Alethea de Villiers
Keyword(s):  
Music Education ◽  
South African ◽  
Curriculum Implementation ◽  
Continuing Professional Development ◽  
Development Programme ◽  
The Arts ◽  
South African Education ◽  
Professional Development Programme ◽  
Over Time

In this paper I reflect on transformation in South African education policy, post-1994. The new curriculum for schools was underpinned by the democratic values of the constitution and was a time of renewal for music education. However, over time as the original curriculum documents were revised, the focus of promoting indigenous traditions was abandoned and replaced by an overtly Western approach to music education. It is against this background that I also reflect on the transformation that occurred as a result of a continuing professional development programme that arose from a need to improve curriculum implementation in the arts.

scholarly journals South African music learners and psychological trauma: educational solutions to a societal dilemma

2013 ◽  
Vol 9 (1) ◽  
Author(s):  
Inette Swart
Keyword(s):  
Music Education ◽  
Brain Development ◽  
South African ◽  
Music Teachers ◽  
Psychological Trauma ◽  
Pharmacological Intervention ◽  
Object Relations Theory ◽  
Cortical Function ◽  
Music Making ◽  
Education Psychology

Emotional trauma affects a large proportion of the South African population. This article addresses its influence on music learners, including its effects on brain development, relational development, learning and music-making. The power of the educator to reshape a child’s brain by providing a nurturing and consistent environment is stressed. The effect of the environment in modulating epigenetic expression is discussed in conjunction with object relations theory as a model for human relations. Brain-damaging consequences of early attachment trauma can be reversed by healing these patterns through the educational system. Music teachers’ observations of how trauma influenced their students’ music-making, emotional expression, memory and relational patterns, students’ observed recoveries from trauma, and the influence of teachers’ own experiences on their appraisal of students’ experiences are discussed. The article also examines the advice of healthcare professionals to teachers and the latter’s legal responsibilities in terms of the reporting of abuse. This is done with reference to responsibilities regarding witnessing and referring, and the possibility of empowering learners through unlearning helplessness and fear. Treatment strategies discussed include pharmacological intervention, psychotherapeutic intervention such as Cognitive- Behavioural Therapy, hypnosis, Eye Movement Integration Therapy and Somatic Experiencing. Music can serve as an object relationship representing human experience, expressing the movement of feelings, bypassing the cortical function and expressing what words cannot. It can aid in repairing damaged communication processes and restore the sense of bodily connectedness. Suggested future directions include the incorporation of teaching modules on educational psychology in music teachers’ training curricula, providing support for students, reducing the risk of secondary traumatisation to professionals, and transdisciplinary collaboration.Keywords: Brain development, educators, epigenetic expression, integration, previously disadvantaged, traumaDisciplines: Education, music education, psychology, sociology

Towards an eco-literate tertiary music education: Notes from a South African context

2021 ◽  
pp. 025576142110184
Author(s):  
Marie Jorritsma
Keyword(s):  
Music Education ◽  
South African ◽  
Music Pedagogy ◽  
Education Curriculum ◽  
Educational Approach ◽  
African Government ◽  
Teaching Context ◽  
Course Syllabi ◽  
African Climate ◽  
African Context

On 20 September 2019 in Cape Town, as part of the global protests on inaction on climate change, the African Climate Alliance submitted a memorandum of demands to South African government representatives, one of which was ‘the creation of a mandatory climate-education curriculum for South Africa’. This raises the question of how this imperative would be met within a tertiary music education context. Does the justified insistence on decolonised curricula in the period following the national #FeesMustFall protests of 2015–2016 allow space for inclusion of climate education? Given the links between social justice and environmental justice, there is certainly an argument for a focus on eco-literate education. What, then, would this include at South African tertiary music level? There are several (mostly United States based) course syllabi available online which focus mainly on themes and case studies in the field of ecomusicology. Daniel J. Shevock’s work on eco-literate music pedagogy strongly advocates for a place-based approach, but Greg Garrard’s critique would indicate otherwise. This article examines eco-critical and eco-literate theories and their application to music and uses the author’s own teaching context to outline ideas for integrating a more climate-related educational approach.

The Three-dimensional structure of frozen-hydrated nudaurelia capensis β virus

1987 ◽  
Vol 45 ◽  
pp. 650-651
Author(s):  
N. H. Olson ◽  
T. S. Baker ◽  
Wu Bo Mu ◽  
J. E. Johnson ◽  
D. A. Hendry
Keyword(s):  
South African ◽  
Rna Virus ◽  
Carbon Film ◽  
Three Dimensional ◽  
Dimensional Structure ◽  
Electron Dose ◽  
Total Electron ◽  
Three Dimensional Structure ◽  
Negative Stain ◽  
Dimensional Reconstruction

Nudaurelia capensis β virus (NβV) is an RNA virus of the South African Pine Emperor moth, Nudaurelia cytherea capensis (Lepidoptera: Saturniidae). The NβV capsid is a T = 4 icosahedron that contains 60T = 240 subunits of the coat protein (Mr = 61,000). A three-dimensional reconstruction of the NβV capsid was previously computed from visions embedded in negative stain suspended over holes in a carbon film. We have re-examined the three-dimensional structure of NβV, using cryo-microscopy to examine the native, unstained structure of the virion and to provide a initial phasing model for high-resolution x-ray crystallographic studiesNβV was purified and prepared for cryo-microscopy as described. Micrographs were recorded ∼1 - 2 μm underfocus at a magnification of 49,000X with a total electron dose of about 1800 e-/nm2.

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