A proposed structure for music educationin C2005

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Personal motivation

The author, as flute player and music educator, became involved with the MEUSSA (Music Education Unit Standards for Southern Africa) project in the Music Education division of the University of Pretoria early in 2000. This project involved the generation of unit standards throughout the area of music(s) for all genres practised within the region of Southern Africa, and will be explained in more detail later in this chapter.

Background

South African education authorities have, with the introduction of a new educational dispensation in 1994 (SAQA 2000a:5), instituted a new system of training and education. This new approach has as its main goal the cultivation of attitudes, skills, values and knowledge in learners of all ages to « build the country into an international role-player » (Olivier 2000:i).

The MEUSSA projet

Within the new educational system, unit standards indicating learning achievements or outcomes in all subjects must be generated by a Standards Generating Body (SGB) and registered on the National Qualifications Framework (NQF) in order to provide for an integrated National Qualifications Framework. This system is explored in more detail in another MEUSSA member’s thesis, namely IP. Grove: Grove, J.P. 2001.

Aim of the study

The aim of the study may be defined on two levels, namely the proposed end product of this specific thesis, as well as that of the MEUSSA project. With regard to the first level, this thesis specifically addresses the aspects of performance on Aerophones in a postmodern South Africa. Extensive research on the present situation with both drawbacks and benefits of the current curricula is widely available, and the author does not intend to duplicate this work.

CHAPTER ONE
1.1 Personal motivation
1.2 Background
1.3 The MEUSSA project
1.4 Research questions
1.5 Aims of the study
1.6 Delimitations of the study
1.7 Structure of the study
1.8 Value of the study
1.9 Methodology
1.10 Sources
1.10.1 Frmneworks and standards
1.10.2 Books
1.10.3 Articles
1.10.4 The Intemet
CHAPTER TWO
2.1 Introduction
2.1.1Wideningthe basis of the learning experience
2.1.2 Includingall cultures
2.2 The South African scenario
2.3 Rationale
2.4 Music, the brain and education
2.5 Curriculum planning from a musical perspective
2.5.1 The inclusion of music in a curriculum
2.5.2 Curriculumplanning
2.5.3 Music as a core subject
2.6 Curriculum 2005: Outcomes-based approach
2.6.1 The learningareas
2.6.2 Music in Culture andArts
2.6.3 A proposed structure for music educationin C2005
2.7 Instrumental teaching
2.8 Curriculum for performance in the secondary school
2.9 Points of departure for writing unit standards
2.10 Aims for music education
2.11 Factors influencing the provision of unit standards
2.12 Unit standards for musics in Southern Africa
2.13 The way forward in South Africa
2.14 Contemporary music
2.15 Perspective on problems encountered
2.16 Music in South African Schools
2.17 Suggestions for encouraging formal music education
2.18 Strategies for the implementation of music education
2.19 Final remarks
CHAPTER THREE: INVESTIGATION OF FRAMEWORKS
3.1 Introduction
3.2 Frameworks as structure for learning content
3.3 Infrastructure
3.4 The K-12 national standards of the United States of America
3.4.1 A brief overviewof Music inAmerican schools
3.4.2 Standards and benchmarks
3.4.3 Music Standards in the USA: a backgrouild
3.4.4 Standards in the USA: content and achievement
3.5 National standards of the USA
3.5.1 Pre-kindergartenstandards
3.5.2 GradesK-4 standards
3.5.3 Grades 5-8 standards
3.5.4 Grades 9-12 standards
3.5.5 Assessment
3.5.6 Staffing, facilities and equipment
3.5.7 Evaluatingthe American standards
3.6 State Standards
3.6.1 Massachusetts Music Standards
3.6.2 Florida Music Standards
3.6.3 Nebraska Music Standards
3.6.4 Assessment
3.7 The Australian Frameworks
3.7.1 Overview ,
3.7.2 Challenges in Australian music education
3.7.3 The Australian Qualifications Framework
3.7.4 Guidelines for School Standards in Australia
3.7.5 The Curriculum Framework
3.7.6 The Music Curriculum Framework ,
3.7.7 Evaluation of the Australian framework.
3.8 The National Qualifications Framework of New Zealand
3.8.1 Overview of the Qualifications Framework: the NZQA
3.8.2 The NQF
3.8.3 Learning outcomes
3.8.4 Levels and qualifications
3.8.5 Credits and assessment
3.8.6 Detailed fields
3.8.7 Classification system
3.8.8 Quality assurance
3.8.9 The music framework of the New Zealand NQF
3.8.9.1 Main structure
3.8.9.2 Unit standards for Making Music
3.8.9.3 Unit standards for Music Education and Training
3.8.9.4 Unit standards for Music Studies
3.8.9.5 Unit standards for Music Technology
3.8.10 Evaluation of and comparison with the South African structure
3.9 The National Curriculum of England
3.9.1 Overview: Before the National Curriculum
3.9.2 Overview: The National Curriculum
3.9.3 The Structure of the National Curriculum
3.9.4 The structure of the National Music Curriculum
3.9.5 Outcomes
3.9.6 Assessment
3.9.7 The Key Stages: Key Stage 1
3.9.8 The Key Stages: Key Stage 2
3.9.9 The Key Stages: Key Stage 3
3.9.10 The Attainment Targets
3.9.11 The AS and A level music syllabuses
3.9.12 Evaluation of the English framework
3.10 Comparison of core subjects between the four countries discussed
in this chapter
3.11 Final remarks
CHAPTER FOUR: MUSIC EDUCATION IN A POSTMODERN CULTURE
4.1 Introduction
4.2 Background
4.3 Postmodernism and modernism
4.4 Modernism
4.4.1 General
4.4.2 Meta-narratives
4.4.3 UniversaliSID
4.4.4 Optimism rooted in scientific achievements
4.4.5 Rationality
4.4.6 The essence of modernism
4.4.7 Modernist art
4.4.8 Modernist music
4.4.9 Music after World War II
4.4.10 Two perspectives
4.4.10.1 Exclusive art
4.4.10.2 Mass culture
4.4.11 Popular music in a modernist discoW »Se
4.4.12 Popular music as an expression of a modernist meta-narrative
4.4.13 Jazz
4.4.14 Final remarks on modernism
4.5 Postmodernism
4.5.1 Main aspects of postmodernism
4.5.2 Dismantling of grand narratives
4.5.3 Rejection of « high » and « low » art
4.5 .4- Rejecting boundaries
4.5.5 The nature of knowledge
4.5.6 Pluralism
4.5.7 Marginalised groups
4.5.8 Post-structuralism
4.5.9 Affmities and differences between structuralism and post-structuralism
4.5.10 Postmodemism in the arts ,
4.5.10.1 Postmodemism in architecture
4.5.10.2 Literary manifestations ,
4.5.10.3 Different worlds
4.5.10.4 The death of the author
4.5.10.5 In summary
4.5.11 Postmodemism and music
4.5.11.1 Classical music in a postmodern culture
4.5.11.2 Rap as postmodem genre
4.5.11.3 Punk and the postmodem culture
4.5.11.4 Final remarks on postmodemism
4.5.12 Critique ofpostmodern concepts
4.6 The postmodem condition within the :MEUSSA group
4.7 Music education in a postmodemist time
4.7.1 Postmodemism in education
4.7.2 Constructivist learning
4.7.3 The implications for music education
4.7.4 Final remarks
CHAPTER FIVE: UNIT STANDARDS FOR AEROPHONES
5.1 Introduction
5.2 Unit standards for Aerophones in the GET and FET phases
5.2.1 Startingwith an instrument.
5.2.2 What is a unit standard?
5.2.3 Qualifications
5.3 A framework for Aerophones, with specific application to flute playing
5.3.1 Introduction
5.3.2 Credit structure forNQF level 2, 3 and 4
5.4 The MEUSSA model
5.5 The MEUSSA model in this thesis
5.5.1 Interpretationof theMEUSSAmodel fordifIerent styles and genres
5.5.2 MappingMusic:Aerophones (performance)
5.5.3 Different applicationsof theMEUSSAmodeL
5.6 Unit standards for Aerophones (performance)
5.6.1 Generic standards forAerophones
5.6.2 Specificunit standards for Aerophones
5.6.3 Assessment
5.6.4 Range statements
5.6.4.1 Preparatorylevel
5.6.4.2 NQF level I
5.6.4.3 NQF level 2
5.6.4.4 NQF level 3
5.6.4.5 NQF level 4
5.6.5 NQF levels 5-8
5.6.5.1 NQF level 5
5.6.5.2 NQF level 6
5.6.5.3 Credit structure for NQF level 7
5.6.5.4 NQF level 7
5.6.5.5 Credit structure for NQF level 8
5.6.5.6 NQF level 8
5.7 Final remarks
CHAPTER SIX: CONCLUSIONS AND RECOMMENDATIONS
6.1 Introduction
6.2 Answering the main research question
6.3 Answering the sub-questions
6.3.1 Sub-question 1
6.3.1.1 The USA
6.3 .1.2 Australia
6.3.1.3 New Zealand
6.3 .1.4 England
6.3.2 Sub-question 2
6.3.3 Sub-question 3
6.4 Difficulties encountered by the MEUSSA group
6.4.1 Difficulties encountered by the study group
6.4.2 Difficulties encountered by the author
6.5 Recommendations