PERSPECTIVES ON TECHNOLOGY, MUSIC TECHNOLOGY AND SOUTH AFRICAN MUSIC EDUCATION

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Education legislative context

The birth of democratic government in South Africa (SA) in 1994, led to the generation of a plethora of legislation that intended to introduce fundamental changes within different government sectors. The education legislative framework formed one of the critical components for large-scale system wide change. This framework requires the education system and curricula to transform by addressing issues of accountability, redress, mobility and equity for all South Africans, especially those who were educationally disadvantaged prior to the first democratic elections in 1994. In meeting the national education needs, it has become necessary that education also moves forward by keeping pace with international developments (SAQA 2000c) regarding higher education’s SOCial accountability, curricula relevance and mode of instruction (Drucker 1994; Glidden 1997).

The need for this study

Internationally, Music Technology programmes have been designed to cater for individual countries’ educational (pedagogic) and economic (industry) needs: for example, the programmes at Berklee College of Music (USA), Queensland University of Technology (Australia), and the School of Audio Technology (New Zealand) cater primarily for industry needs, while Monash University (Australia), Northwestern University (USA), and the University of Southampton (UK) fulfil educational (pedagogic) as well as economic needs. These claims by the institutions are rooted in ensuring the employability of future learners to sustain the economic viability of a nation in terms of global competitiveness. Educators therefore respond accordingly.

Rationale and the main research question

In order to understand the development of the main research question in this section. the relationship between the researcher and the research will be clarified and some background  to the research will be provided.

Purpose of this study

Rather than presenting formulaic response to South African Qualifications Authority guidelines, this research provides a basis for the writing of national standards in Music Technology based on critical discourse that is underpinned by a theory for qualification design. The research also assists in accelerating the current standards generating process.

Abstract
Dedication
Acknowledgements
CHAPTER 1: INTRODUCTION
1.1 Education legislative context
1.2 The need for this study
1.3 Rationale and the main research question
1.4 Research sub-questions
1.5 Purpose of this study
1.6 Research methodology
1.6.1 Literature review
1.6.2 Interviews and personal communication
1.6.3 Internet surveys
1.6.4 Validity and reliability of data
1.6.5 Education policies examined
1.7 Scope and limitations of this study
1.8 Assumptions
1.9 Explanation of terms
1.10 Overview ofthis study
CHAPTER 2: PERSPECTIVES ON TECHNOLOGY, MUSIC TECHNOLOGY AND SOUTH AFRICAN MUSIC EDUCATION
2.1 Technology, music and education
2.1.1 Technology defined
2.1.2 A working definition of Music Technology
2.1.3 The emergence of Music Technology as a field of study
2.1.4 Music Technology in South Africa
2.2 Historical development of technology in music
2.2.1 1877-1905: Early experiments
2.2.2 1906-1960: Vacuum tube era
2.2.3 1960-1980: The performance interface
2.2.4 1980 to the present: The digital domain
2.3 The sub-domains of Music Technology
2.3.1 Music processing
2.3.2 Music creation
2.4 Music technology as a tool
2.5 The predicament in South African music education
2.6 Music Technology within the current education system
2.7 Summary
CHAPTER 3: REVIEW OF LITERATURE, AND ANALYSIS OF MUSIC TECHNOLOGY TRENDS
3.1 Studies outside of music
3.1.1 Dixon: Developing ofa learning programme for the learning area Technology at Colleges of Education (1998)
3.1.2 Dooley, Metcalf &Martinez: A study of the adoption ofcomputer technology by teachers (1999)
3.1.3 Barnard: Computers in FE (Further Education biology – a study of how teachers’ classroom practice can be affected by different types o software (1999)
3.1.4 Anand &Zaimi: Computer-managed instruction: Evaluation of alternative methods of technology integration in higher education (2000)
3.1.5 Reid: Towards effective technology education in New Zealand (2000)
3.1.6 Van Loggerenberg: Implementing a problem-based learning model in
the training of teachers for an outcomes-based technology curriculum (2000)
3.1.7 Key emerging issues from studies outside of Music Technology
3.2 Studies in music
3.2.1 Faulk: A curriculum guide designed to teach a basic knowledge of electronic music to undergraduate music education students (1978)
3.2.2 Sanders: The effect ofcomputer-based instructional materials in a programme for visual diagnostic skills training of instrumental education students (1980)
3.2.3 Grijalva: Factors influencing computer use by music educators in California independent elementary and secondary schools (1986)
3.2.4 Fabregas: Designing and implementing an electronic music program in a community music school in New York City (1992)
3.2.5 Tredway: A curriculum for the study of audio, video, computer, and electronic music technology for undergraduate music education majors based on a survey among members of the Florida Music Educators Association (1994)
3.2.6 Jaeschke: Creating music using electronic music technology: curriculum materials and strategies for educators (1996)
3.2.7 Regenmorter: Integrating technology into the music curriculum of a Califomia community college (1998)
3.2.8 Key emerging issues from studies in Music Technology
3.3 Post-secondary trends in Music Technology internationally
3.3.1 Core components of Music Technology
3.3.1.1 Electronic Musical Instruments (EMI)
3.3.1.2 MIDI Sequencing (MS)
3.3.1.3 Music Notation (MN)
3.3.1.4 Computer-based Education/lnstructionfTraining (CSE/lfT)
3.3.1.5 Multimedia and Digitized Media (MOM)
3.3.1.6 Internet and Telecommunications (IT)
3.3.1.7 Computers, Information Systems and Lab Management (CISLM)
3.3.1.8 Computer Music (CM)
3.3.1.9 Audio Technology (AT)
3.3.1.10 Research in Music Technology (R)
3.3.2 Cross-curricula interaction
3.3.3 Music career paths and Music Technology components
3.4 Analysis of South African Music Technology trends
3.5 Identification of South African needs in Music Technology
3.6 Comparison of international and South African Music Technology core component trends
3.7 Summary
CHAPTER 4: AN OVERVIEW OF THE SOUTH AFRICAN EDUCATION STRUCTURE, OUTCOMES-BASED EDUCATION AND CURRICULUM AND THEIR IMPLICATIONS FOR QUAIJFICATION DESIGN
4.1 The South African education structure
4.1.1 Transformation
4.1.2 Composition of the National Qualifications Framework (NQF)
4.1.3 Learning outcomes
4.1.4 Qualification design
4.1.4.1 The qualification
4.1.4.2 The credit system
4.1.4.3 Unit standards
4.1.4.4 Range statements
4.1.4.5 Composition of a qualification
4.1.5 Guiding principles in qualification design
4.2 Outcomes-based education (OBE) and critical outcomes
4.2.1 Traditional OBE
4.2.2 TransitionalOBE
4.2.3 TransformationalOBE
4.2.4 Critical outcomes
4.3 Definition of curriculum
4.4 Curriculum development process
4.5 Summary
CHAPTER 5: A CONCEPTUAL FRAMEWORK AND DESIGN OF A QUALIFICATION IN MUSIC TECHNOLOGY
5.1 A conceptual framework
5.1.1 Contextual issues
5.1.1.1 International context
5.1.1.2 National context
5.1.1.3 Institutional context
5.1.2 Epistemological issues
5.1.2.1 How is knowledge produced?
5.1.2.2 Who produces knowledge?
5.1.2.3 What knowledge is selected for the qualification in Music Technology?
5.1.2.4 The impact of OBE on the pedagogy of Music Technology
5.1.2.5 The integration of theory and practice
5.1.2.6 Applied competence
5.1.2.7 Integration between foundational, practical and reflexive
5.1.2.8 Identifying key roles and competencies
5.1.2.8.1 Computer Musician
5.1.2.8.2 Audio Technologist
5.1.2.8.3 Technician
5.1.2.8.4 Sound Designer
5.1.2.8.5 Composer
5.1.2.8.6 Performer
5.1.2.8.7 Music Educator
5.1.2.8.8 Music Consultant
5.1.2.8.9 Researcher
5.1.2.8.10 Multimedia Developer
5.1.2.8.11 Music Software Developer
5.1.2.8.12 Summary of a Music Technologist’s role
5.1.2.9 Determining the level deSCriptors
5.1.3 The role of the critical cross-field outcomes on qualification design
5.2 Curriculum development model
5.3 Qualification design process
5.3.1 Constructing the proposed Certificate in Music Technology
5.3.1.1 Title of qualification
5.3.1.2 Rationale
5.3.1.3 Purpose of the qualification
5.3.1.4 Level
5.3.1.5 Credits
5.3.1.6 Access to the qualification
5.3.1.7 Organizing Field and Sub-Field for the qualification
5.3.1.8 Learning assumed to be in place
5.3.1.9 International comparability
5.3.1.10 Integrated assessment
5.3.1.11 Recognition of prior learning (RPL)
5.3.1.12 Moderation
5.4 Outcomes
5.4.1 Exit level outcomes and assessment criteria
5.4.2 Critical cross-field outcomes
5.5 Summary
CHAPTER 6: CONCLUSIONS AND RECOMMENDATIONS
6.1 Findings
6.1.1 Main research question: How does the nature of the field of Music Technology and current South African education policy contribute to the development of a conceptual framework that informs the design of a qualification in Music Technology?
6.1.2 Sub-question 1: What is the nature of Music Technology internationally and as an emerging field of study in South Africa?
6.1.3 Sub-question 2: What are the implications of current South African education policy for transformational qualification design?
6.2 Recommendations
6.2.1 Standards generation
6.2.2 Writing transformational learning outcomes
6.2.3 Further research
6.3 Conclusions

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Towards a conceptual framework for the design of a qualification in Music Technology at post-secondary institutions in South Africa

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