Productive piano pedagogy: towards a compositional approach to piano lessons in a South African primary school in Makhanda, Eastern Cape
- Authors: Wynne, Donovan
- Date: 2025-04-02
- Subjects: Composition (Music) , Piano pedagogy , Cultural-historical activity theory , Design-based research , Hogenes, Michel , School music
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479618 , vital:78329 , DOI 10.21504/10962/479618
- Description: Despite global trends towards creative and productive musical learning, there is little available research on how to support music educators’ efforts to adopt productive praxis in piano lessons in primary schools, and none situated in South Africa. This climate of pedagogical innovation makes possible a turn to play-based teaching methods emerging from the global north, which are aligned with African traditions of knowledge transmission in which agentive participation in authentic cultural processes is of greater value than evaluative judgements of ensuant products. The literature advocates the cultivation of music learning ecologies that privilege learner agency through composition, yet practical means of doing so within established conventions of instrumental music tuition in South African primary schools are not provided. This thesis investigates how such an ecology might be cultivated in a primary school in the Eastern Cape, with particular emphasis on how this can be achieved without compromising established pedagogical practises that are oriented toward the attainment of important external benchmarks of musical achievement. A design-based study was conducted in a primary school over the course of 12 months, in which nine young students composed their own music during piano lessons through collaborative activity in which they were afforded a degree of autonomy in their work as they acquired and consolidated knowledge of music through its creation. A play-based teaching intervention was devised, which was iteratively enacted, analysed, and redesigned through three research cycles. This resulted in findings that drove the development of a framework for teaching composition in this context, as well as tangible teaching materials. Results show that this adapted play-based model is an effective vehicle for fostering an agentive music learning ecology in piano lessons in an Eastern Cape primary school and suggest that it is reasonable to expect similar success in comparable school contexts. The insularity of a single school setting limited this research in terms of broader applicability, so further trialling of the proposed framework is recommended in a range of school situations in South Africa and beyond to establish transferability. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
- Authors: Wynne, Donovan
- Date: 2025-04-02
- Subjects: Composition (Music) , Piano pedagogy , Cultural-historical activity theory , Design-based research , Hogenes, Michel , School music
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479618 , vital:78329 , DOI 10.21504/10962/479618
- Description: Despite global trends towards creative and productive musical learning, there is little available research on how to support music educators’ efforts to adopt productive praxis in piano lessons in primary schools, and none situated in South Africa. This climate of pedagogical innovation makes possible a turn to play-based teaching methods emerging from the global north, which are aligned with African traditions of knowledge transmission in which agentive participation in authentic cultural processes is of greater value than evaluative judgements of ensuant products. The literature advocates the cultivation of music learning ecologies that privilege learner agency through composition, yet practical means of doing so within established conventions of instrumental music tuition in South African primary schools are not provided. This thesis investigates how such an ecology might be cultivated in a primary school in the Eastern Cape, with particular emphasis on how this can be achieved without compromising established pedagogical practises that are oriented toward the attainment of important external benchmarks of musical achievement. A design-based study was conducted in a primary school over the course of 12 months, in which nine young students composed their own music during piano lessons through collaborative activity in which they were afforded a degree of autonomy in their work as they acquired and consolidated knowledge of music through its creation. A play-based teaching intervention was devised, which was iteratively enacted, analysed, and redesigned through three research cycles. This resulted in findings that drove the development of a framework for teaching composition in this context, as well as tangible teaching materials. Results show that this adapted play-based model is an effective vehicle for fostering an agentive music learning ecology in piano lessons in an Eastern Cape primary school and suggest that it is reasonable to expect similar success in comparable school contexts. The insularity of a single school setting limited this research in terms of broader applicability, so further trialling of the proposed framework is recommended in a range of school situations in South Africa and beyond to establish transferability. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
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Jazz pedagogical strategies: an A/R/Tographic investigation into the implementation of the South African jazz CAPS syllabus
- Authors: Rungan, Natalie
- Date: 2023-10-13
- Subjects: Jazz Instruction and study , Durban High School Curricula , Jazz Outlines, syllabi, etc. , Curriculum-based assessment South Africa , Jazz vocals , Jazz education , South Africa. Department of Basic Education
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432488 , vital:72875 , DOI 10.21504/10962/432488
- Description: The Jazz stream of the Curriculum and Assessment Policy Statement Further Education and Training music curriculum was introduced in South Africa in 2012 (DBE, 2011a). Despite the intentions of the government to promote diversity, social transformation, and inclusion, subject music is still weighted towards Western Art Music, perpetuating past biases of a Eurocentric model for music education. This study, which uses a mixed-method approach, seeks to create strategies to advance Jazz education in South Africa through an a/r/tographic analysis of the author’s Jazz pedagogical methods at Durban High School in KwaZulu Natal, South Africa. Key approaches include curriculum theory, currere, a/r/tography, among others. After reviewing Jazz pedagogy in the U.S.A. and South Africa as a starting point, using Pinar’s (1994) method of currere, the author demonstrates how past personal music educational processes have led to present Jazz pedagogical methods. Six original compositions were written that outline the influences that infused these methods and added to the creative output related to this research. Interviews were conducted with key stakeholders in the Jazz community to gain perspective about the current state of Jazz education, and with students to provide insight into their reactions to the Jazz stream of CAPS. This presents new information about the curriculum from a learners’ perspective. Ethical clearance for research with children was sought and received (Appendix A). Findings show that the ability of learners to recognise the value in, and identity relating to, their African culture through Jazz points to a pivotal departure from previous Eurocentric music education models. However, despite South Africa being positioned as one of the only countries offering Jazz as a subject choice to high school learners, the selection of Jazz in the subject of Music remains underutilised. This study concludes that for Jazz education to advance in South African high schools, there needs to be intentional engagement with Jazz professionals at the high school level. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Authors: Rungan, Natalie
- Date: 2023-10-13
- Subjects: Jazz Instruction and study , Durban High School Curricula , Jazz Outlines, syllabi, etc. , Curriculum-based assessment South Africa , Jazz vocals , Jazz education , South Africa. Department of Basic Education
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432488 , vital:72875 , DOI 10.21504/10962/432488
- Description: The Jazz stream of the Curriculum and Assessment Policy Statement Further Education and Training music curriculum was introduced in South Africa in 2012 (DBE, 2011a). Despite the intentions of the government to promote diversity, social transformation, and inclusion, subject music is still weighted towards Western Art Music, perpetuating past biases of a Eurocentric model for music education. This study, which uses a mixed-method approach, seeks to create strategies to advance Jazz education in South Africa through an a/r/tographic analysis of the author’s Jazz pedagogical methods at Durban High School in KwaZulu Natal, South Africa. Key approaches include curriculum theory, currere, a/r/tography, among others. After reviewing Jazz pedagogy in the U.S.A. and South Africa as a starting point, using Pinar’s (1994) method of currere, the author demonstrates how past personal music educational processes have led to present Jazz pedagogical methods. Six original compositions were written that outline the influences that infused these methods and added to the creative output related to this research. Interviews were conducted with key stakeholders in the Jazz community to gain perspective about the current state of Jazz education, and with students to provide insight into their reactions to the Jazz stream of CAPS. This presents new information about the curriculum from a learners’ perspective. Ethical clearance for research with children was sought and received (Appendix A). Findings show that the ability of learners to recognise the value in, and identity relating to, their African culture through Jazz points to a pivotal departure from previous Eurocentric music education models. However, despite South Africa being positioned as one of the only countries offering Jazz as a subject choice to high school learners, the selection of Jazz in the subject of Music remains underutilised. This study concludes that for Jazz education to advance in South African high schools, there needs to be intentional engagement with Jazz professionals at the high school level. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
Babantu ababomvu entliziyweni(People who are ‘Red’ in their hearts) and the myth of ‘modernity’
- Authors: Haynes, Duncan Robert
- Date: 2023-03-30
- Subjects: Xhosa (African people) Religious life , Ancestor worship , Epistemic violence , Christianity and Paganism , Decoloniality
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/408897 , vital:70535
- Description: This study examines a history of urban research on ancestral belief of amaXhosa within the Greater East London region, Eastern Cape, South Africa which spanned much of the 20th century (1934–2002). Through extensive textual and literary investigation, this thesis offers new perspectives on this topic. Current theoretical explorations offer the tools to reassess the positionality of the researchers and in light of findings of these previous studies, highlighting above all, the presence of certain academic ‘blind-spots’. These ‘blind-spots’ are argued to have been caused by theoretical and methodological constraints, particularly around Western-centric definitions of the nature of 'modernity' that rely on the positivist notion of a singular unilinear path of time as a universal standard (and which thus defines 'progressiveness' and 'backwardness'). (These ‘blind spots’ were notably further strengthened by a Eurocentric interpretation of identity and a trend of Neo-Marxist scholarship between the 1970s and the 2010s1 which created a ‘taboo’ on addressing issues of culture, and especially of ancestral spirituality, as this was taken to be portraying Africans as culturally ‘static’ and backward and therefore supporting Apartheid ideologies of ‘separate development’). Through these textual investigations this thesis brings to light the, largely unrecognised, core of the issue or driving factor behind the difficulties in all of these previous studies. This is posited as the existence of a prevailing culture of ‘silence’ in Xhosa spaces (stretching from 1840–2000) regarding the sustained importance of 'Redness' (ancestral spirituality and traditional dimensions of identity due to the notion that it was 'backward'). This self-censoring is unpacked as having been an expedient response by many to the requirements for Xhosa pagans to wash off the symbolic red cosmetic clay at baptism, put on ‘decent’ Western clothing and shoes and take on Christian first names (‘shedding’ their previous names and identities) as processes deemed necessary to properly convert to Christianity (Frescura, 2015). More significantly however, it has been argued by scholars that adopting Christianity was the only way to be able to harness the power of education at a time of starvation related to the famine of the millennial Cattle Killing movement (1856–7) and the Xhosa military defeat at the end of the 100-year period of the British Xhosa Frontier Wars (1779–1879). This thesis uses perspectives offered by Queer theory to unpack the pain of this 'veiling' of aspects of identity as a necessary strategy for achieving economic 'success' amid the structural and epistemological violence of colonialism and apartheid. It is suggested that a combination of the ‘silence’ and ‘taboo’ area of the ‘blind-spot’ could completely ‘veil’ these epistemological realities from the view of many earlier researchers of urban Xhosa identity (whose cultural and linguistic backgrounds as well as etic positioning caused them to be unable to 'knock' to gain access into this normally ‘veiled’ world). This thesis combines these historical perspectives with contemporary scholarship and literary works to propose that these ‘Red’ aspects of identity and spirituality have always and still ‘continue’ to form a core, or crux, of Xhosa identity for a previously widely unrecognised and overwhelming majority of urban amaXhosa. This thesis uses the perspective offered by a Xhosa translation of the title of Mda's English language novel, 'A Heart of Redness’ (2000), to explore the importance of ancestral spirituality and clan identities to amaXhosa as a [previously invisible/veiled] ‘Redness of one's Heart’ for a high proportion of contemporary amaXhosa. In this way, this thesis agrees with scholars such as Latour (1993) and Mignolo (2007) in their 'jarring' expose regarding the epistemic violence of euro-normative notions of ‘modernity’. Here they call for a disruption of the pervasive idea of the West as being at the 'forefront' of human experience and even a challenge to the western reading of time. Finally, through exploring critique of the 'Secularisation Thesis' of the Western world, this thesis poses the implicit question contained in its title: ‘Is the western world now perhaps able to embrace a 'modernity' and integrative-cosmology that has been safe-guarded by Xhosa pagans since the 1840s?’ This study documented numerical indicators on the presence of ancestral belief and traditional dimensions of Xhosa identity from fieldwork conducted in an urban locality King William’s Town (Qonce) within the Buffalo City Municipality, Eastern Cape of South Africa from September 2018 to December 2019. In-depth quantitative and qualitative data were collected from lengthy interactions with 305 consenting Xhosa participants. These interactions comprised 129 semi-structured and 176 structured interviews, 61 of the latter formed the sample for numerical data analysis with which to give clarity on the abiding importance of ancestral spirituality for a vast majority of urban amaXhosa. , Thesis (MA) -- Faculty of Humanities, Anthropology, 2023
- Full Text:
- Authors: Haynes, Duncan Robert
- Date: 2023-03-30
- Subjects: Xhosa (African people) Religious life , Ancestor worship , Epistemic violence , Christianity and Paganism , Decoloniality
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/408897 , vital:70535
- Description: This study examines a history of urban research on ancestral belief of amaXhosa within the Greater East London region, Eastern Cape, South Africa which spanned much of the 20th century (1934–2002). Through extensive textual and literary investigation, this thesis offers new perspectives on this topic. Current theoretical explorations offer the tools to reassess the positionality of the researchers and in light of findings of these previous studies, highlighting above all, the presence of certain academic ‘blind-spots’. These ‘blind-spots’ are argued to have been caused by theoretical and methodological constraints, particularly around Western-centric definitions of the nature of 'modernity' that rely on the positivist notion of a singular unilinear path of time as a universal standard (and which thus defines 'progressiveness' and 'backwardness'). (These ‘blind spots’ were notably further strengthened by a Eurocentric interpretation of identity and a trend of Neo-Marxist scholarship between the 1970s and the 2010s1 which created a ‘taboo’ on addressing issues of culture, and especially of ancestral spirituality, as this was taken to be portraying Africans as culturally ‘static’ and backward and therefore supporting Apartheid ideologies of ‘separate development’). Through these textual investigations this thesis brings to light the, largely unrecognised, core of the issue or driving factor behind the difficulties in all of these previous studies. This is posited as the existence of a prevailing culture of ‘silence’ in Xhosa spaces (stretching from 1840–2000) regarding the sustained importance of 'Redness' (ancestral spirituality and traditional dimensions of identity due to the notion that it was 'backward'). This self-censoring is unpacked as having been an expedient response by many to the requirements for Xhosa pagans to wash off the symbolic red cosmetic clay at baptism, put on ‘decent’ Western clothing and shoes and take on Christian first names (‘shedding’ their previous names and identities) as processes deemed necessary to properly convert to Christianity (Frescura, 2015). More significantly however, it has been argued by scholars that adopting Christianity was the only way to be able to harness the power of education at a time of starvation related to the famine of the millennial Cattle Killing movement (1856–7) and the Xhosa military defeat at the end of the 100-year period of the British Xhosa Frontier Wars (1779–1879). This thesis uses perspectives offered by Queer theory to unpack the pain of this 'veiling' of aspects of identity as a necessary strategy for achieving economic 'success' amid the structural and epistemological violence of colonialism and apartheid. It is suggested that a combination of the ‘silence’ and ‘taboo’ area of the ‘blind-spot’ could completely ‘veil’ these epistemological realities from the view of many earlier researchers of urban Xhosa identity (whose cultural and linguistic backgrounds as well as etic positioning caused them to be unable to 'knock' to gain access into this normally ‘veiled’ world). This thesis combines these historical perspectives with contemporary scholarship and literary works to propose that these ‘Red’ aspects of identity and spirituality have always and still ‘continue’ to form a core, or crux, of Xhosa identity for a previously widely unrecognised and overwhelming majority of urban amaXhosa. This thesis uses the perspective offered by a Xhosa translation of the title of Mda's English language novel, 'A Heart of Redness’ (2000), to explore the importance of ancestral spirituality and clan identities to amaXhosa as a [previously invisible/veiled] ‘Redness of one's Heart’ for a high proportion of contemporary amaXhosa. In this way, this thesis agrees with scholars such as Latour (1993) and Mignolo (2007) in their 'jarring' expose regarding the epistemic violence of euro-normative notions of ‘modernity’. Here they call for a disruption of the pervasive idea of the West as being at the 'forefront' of human experience and even a challenge to the western reading of time. Finally, through exploring critique of the 'Secularisation Thesis' of the Western world, this thesis poses the implicit question contained in its title: ‘Is the western world now perhaps able to embrace a 'modernity' and integrative-cosmology that has been safe-guarded by Xhosa pagans since the 1840s?’ This study documented numerical indicators on the presence of ancestral belief and traditional dimensions of Xhosa identity from fieldwork conducted in an urban locality King William’s Town (Qonce) within the Buffalo City Municipality, Eastern Cape of South Africa from September 2018 to December 2019. In-depth quantitative and qualitative data were collected from lengthy interactions with 305 consenting Xhosa participants. These interactions comprised 129 semi-structured and 176 structured interviews, 61 of the latter formed the sample for numerical data analysis with which to give clarity on the abiding importance of ancestral spirituality for a vast majority of urban amaXhosa. , Thesis (MA) -- Faculty of Humanities, Anthropology, 2023
- Full Text:
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