2006 Edition 2 (Issue 144) - Sasmt-savmo.org.za

South African Music Teacher |144 | November 2006

Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

South African Music Teacher |144 | November 2006
UKUSA is based at the Durban campus of UKZN. It is a developmental
community performing arts NGO for students sixteen
years and older. It offers beginner’s tuition in music, dance, and
drama. Initiated in 1987, UKUSA was one of the first local arts outreach
programmes for historically disadvantaged people in Kwa-
Zulu-Natal. About 300 students take lessons in keyboards, trumpet,
saxophone, lead guitar, bass guitar, maskanda, drumming,
dance, drama, choir and music theory. At the end of each year
certificates of merit are awarded to successful students. UKUSA
aims to help students who show willingness to work, ability in the
creative arts, and a desire to share what they have learned with
others in their communities.

t h e s o u t h a f r i c a n m u s i c t e a c h e r ~ d i e s u i d - a f r i k a a n s e m u s i e k o n d e r w y s e r
editor ~ redakteur
Hannes Taljaard
business manager ~ bestuurder
Annette Massyn
copy editor ~ kopie-redakteur
Jaco Kruger
directory editor ~ ledelysredakteur
Hubert van der Spuy
advertising manager ~ advertensies
Annette Massyn
editorial assistants ~ redaksionele assistente
Danell Herbst
Elize Verwey
design & layout ~ ontwerp & uitleg
Polar Design Solutions
(082 770 5734)
info@polard.com
reproduction & printing
d.comm.
(018) 290 5554
distribution ~ verspreiding
Prestige Bulk Mailers
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postal address ~ posadres
SA Music Teacher
PO Box 20573, Noordbrug 2522
South Africa
Tel. +27 (0)18 299 1702
musdjt@nwu.ac.za
http://www.samusicteacher.org.za/magazine
physical address ~ fisiese adres
Conservatory ~ Konservatorium
Van Der Hoff Road, Potchefstroom 2531
South Africa
directory lists ~ ledelyste
Directory Editor ~ Ledelysredakteur
PO Box 36242, Menlo Park 0102
Fax. (012) 429-3644
vdspuhh@unisa.ac.za
The South African Music Teacher is the official organ of
the South African Society of Music Teachers (SASMT). It is
published and distributed biannually in the interest of music
and Southern African musicians. The SASMT is an association
not for gain incorporated in terms of Section 21 of the 1974
Companies Act, and all following amendments to the same,
and applies its income to the promotion of its goals.
Reg. no. 1932/004247/08
ISSN:0038-2493
Copyright © 2006, South African Music Teacher
All rights reserved
No article, picture or portions thereof in this magazine may
be reproduced, copied or transferred in any form whatsoever
without the express written consent of the writer(s) and the
editor. Contributors keep the intellectual property rights to
their work.
Opinions expressed in this magazine are not necessarily those
of the editor, publisher, the SASMT, sponsors or advertisers.
The South African Music Teacher is indexed in the Music Index
and the International Index to Music Periodicals.
p r e a m b l e
There are x-chromosomes which
we all have (some twice as many
as others); x-rays which are
useful, but also harmful if we are
exposed to them without proper
care; and The X-Files of which
each episode is supposed to
baffle us until the end when we sometimes feel a huge
sense of relief. Many of us have xses (and many have too
many) whom most of us would prefer not to experience
again.
Then there are x-zams. Many musicians have (had)
them (some many more than others) — they are useful,
but can be harmful; they certainly baffle most of us,
and only when they are over do we sometimes feel a
great sense of relief. Many of us would prefer not to
experience them again.
Thirty years ago evolutionary biologist Richard
Dawkins made himself a couple of friends and more
than a few enemies when he published his book The
Selfish Gene, in which he argued that the reason for
our existence — and those of all living creatures — is
simply to serve as survival machines that ensure the
preservation of replicators, those egotistic molecules
known as genes. Dawkins’s idea of the selfish gene
found its way into the minds of many thinkers and so
did another, even more controversial idea: the selfish
meme. Memes would be the cultural equivalent of
genes and our minds — simply meme machines.
I toyed with these ideas when trying to understand
this perplexing phenomenon of music exams. I must
confess to having strong and contradicting feelings
about music exams, and to being unable to make up
my mind. Sometimes we seem to be taking exams,
and often we seem to be taken hostage by them. So I
have been asking myself: might those music exams be
pernicious examples — indeed proof — of the theory
of the selfish meme? Or are they responsible ways to aid
the progress of our learners?
The editor would like to include many voices in The
South African Music Teacher. If you are interested in contributing
to the magazine, please contact the editor via
email for advice and guidelines on the editorial process
and the format of articles and reviews. Contributions will
most likely be edited to suit the vision, style and format of
the magazine. Please send photos and graphics as hard
copies and/or electronically as cmyk jpeg with a resolution
of at least 300 dpi and a compression ratio not less than 8.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

4 preamble
8 editorial
9 letters
features ~ artikels
12 Michael Whiteman
— Reino Ottermann
14 assessing progress in music
— Janet Mills
17 dis te ver om te ry...
— Marietjie Wessels
20 no more hating theory
— Jacomine Pretorius & Hannes Taljaard
24 Waar is die musiek in die musiekteorie?
— Bertha Spies
27 the jazz exam dilemma
— Mike Rossi
43 the music faculty of the NIHE
— Faan Malan
news ~ nuus
7&9 SASMT AGM
10 scholarship winners
11 the 2006 Sanlam competition
26 AGM 2006
26 ISME
40 honorary members
52 SAMRO Scholarship winners
53 Oemf
design: Heilene Oosthuizen
(Polar Design Solutions)
South African Music Teacher |144 | November 2006
c o n t e n t s ~ i n h o u d
7, 33, 37, 49, 51, 55 reviews
39, 40, 51 resources
56 subscription form
report ~ verslag
36 reader’s survey — Hetta Potgieter
reviews ~ resensies
29 W. Meuris et al. Speel Viool!
— Estelle Stuaffer
29 P. Murray. Essential Bass Technique
— Marc Duby
30 M. Dartsch. Der Geigenkasten
— Estelle Stauffer
31 P. Inglis. Guitar Playing and How it Works
— Jenny Bonsignore
32 S. Bernstein. With Your Own Two Hands
— Waldo Weyer
46 Starting and Running a music studio
— Hannes Taljaard
columns ~ rubrieke
41 in diaspora
— Mariné Rooi
50 PG: an emphasis on performance
— Janet Mills
opinion ~ opinie
34 in pursuit of excellence — Jaco Kruger
competitions ~ kompetisies
26 Music Giveaway #143: winners
26 Reader’s Survey: winners
47 Music Giveaway #144

Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

Universal Edition produced Soundsnew. 19 Easy
Piano Pieces (ISBN: 3-7024-2921-2) edited by Peter
Roggenkamp. The technical demands of the pieces correspond
to Books II and III of the Mikrokosmos. Roxanne
Panufnik, Johannes Maria Staud and Ian Wilson wrote
works specifically for this collection, while pieces by
Bartók and Webern, as well as by Jenö Takács, Karl Heinz
Füssl, Friedrich Cerha, György Kurtág, Anthony Hedges,
Arvo Pärt, Peter Roggenkamp, and Richard Rodney Bennet
are also included. Notes on all the composers are
included in German, English and French. Since new
techniques and notation are gradually introduced, this
collection can form part of a very interesting discovery
of new music by young pianists.
South African Music Teacher |144 | November 2006
r e v i e w s ~ r e s e n s i e s
Well-known British pianist Joanna MacGregor’s edition
of twelve contemporary pieces for piano — Unbeaten
Tracks — is published by Faber Music (ISBN: 0-571-
52409-5). It is indeed a pleasure to notice so many
unfamiliar names on the cover: Parricelli, Mukaiyama,
Lodder, Hinde, McGarr and a few more. MacGregor
writes in the introduction: “I asked a group of creative,
talented musicians to come up with pieces that would
not only stretch you technically, but would also give you
other important things — a sense of groove, the chance
to improvise, music that would unlock your imagination.”
My impression is that the ‘you’ here refers to pianists
from about Grade IV to Grade VII level. The ‘biopics’
of the composers and their realisations in sounds are
fascinating, and well-worth investigating.

t h e s o u t h a f r i c a n s o c i e t y o f m u s i c t e a c h e r s ~ d i e s u i d - a f r i k a a n s e v e r e n i g i n g v a n m u s i e k o n d e r w y s e r s
president
Dr Tim Radloff
president-elect ~ aangewese president
Prof Hubert van der Spuy
past-president ~ uittredende president
Mev Marie Gaerdes
vice-president ~ vise-president
eastern cape ~ oos-kaap
Mr Pierre Malan
vice-president ~ vise-president
kwazulu-natal
Dr Ros Conrad
vice-president ~ vise-president
transvaal & free state ~ vrystaat
Mev Riètte Swart
vice-president ~ vise-president
western cape ~ weskaap
Mr Leon Hartshorne
executive officer ~ uitvoerende beampte
Mr Jaco van der Merwe
executive committee ~ uitvoerende komitee
Dr Tim Radloff (president)
Ms Carolyn Stevenson-Milln
(minuting secretary ~ notule)
Ms Mandy Carver
Ms Jillian Haarhoff
Mr Pierre Malan
Mr Ian Smith
standing committee ~ vaste komitee
Mr Hannes Taljaard (chair ~ voorsitter)
Mr Jaco van der Merwe
(executive officer ~ uitvoerende beampte)
Ms Dikonelo Booysen
Mrs Estelle Stauffer
honorary members ~ ere-lede
Mrs Noreen Currie, Ms Inga Heineberg, Ms Diane Heller, Mr
Ivan Killian, Prof Rupert Mayr, Prof Reino Otterman,
Prof Hubert van der Spuy, Prof Michael Whiteman
official correspondence ~ amptelike korrespondensie
Executive Officer SASMT ~ Uitvoerende Beampte SAVMO
PO Box 20573
Noordbrug 2522
South Africa
tel./fax. +27 (0)18 299-1699
sasmt@samusicteacher.org.za
http://www.samusicteacher.org.za/
e d i t o r i a l
I think most people discover somewhere near the start of
their careers that it is almost as easy to criticize as it is
difficult to develop and implement improvements. This
can have the paralyzing result that we simply accept the
status quo and keep on doing things the way they have
been done, without reflecting upon the outcomes of our
actions. This is clearly not a suitable course of action for
educators.
The difficulty of evaluating and improving current practices
should not make us reluctant to criticize where criticism
is due. The unpleasant (for most) experience of receiving
criticism should not seduce us into ostracising those who
dare speak their minds. It is easier to live together cosily,
but it is not conducive to growth and excellence. We need
a bit of sibling rivalry, and often criticism highlights what
is good and gives more energy for further improvements.
Sometimes pupils are taught exams, not music — this is
not the fault of the examination boards.
When educators are trying to produce good and happy
cooks, here is what they will not do. Make the child choose
four recipes. These recipes should be from four different
countries, but the child should not have clear ideas about
the culture of those countries. Have them practise incessantly
only these four recipes at home for eight months;
taking them to cooking lessons once a week. They may be
allowed to make a sandwich once in a while, but do not
confuse them. Now get some background into their heads.
Make them endlessly copy a few other recipes. Be inventive:
leave out certain words and then teach them rhymes
and riddles so that they will know which words were left
out. Above all, make them count the letters, and show
them the dresses of the people in those foreign countries.
Do not forget — they should memorise the names of those
dresses: kimono, sarong, kilt, kikoy, aba, camis. It does not
really matter if the pictures are old and not so realistic. If
you do not have pictures of the dresses, the children should
still know all the names. Then have them take a cooking
examination during which the cooking teacher should
look worried, as if their self-esteem depended upon the
outcome of this examination.
One often hears criticism of music examinations. “It’s all
UNISA’s fault.” Is it? I think not. Music educators, be they
private or part of an institution, have considerable freedom
— and responsibility — to choose what they do before and
after music examinations which for most pupils are played
and/or written but once a year. The problems in music
education in South Africa is less the result of the presence
of music exams and more the necessary consequences of
our teaching strategies. Improvements of strategies can
happen when we are learner-centered and when we try
to establish authentic musical contexts for the activities of
our pupils. Examinations can be part of a healthy music
education, but never the only or the most important one.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

Thank you for my copy of issue 143 of the South
African Music Teacher. It is full of interesting and informative
articles. The contents, layout and general
production have given us a magazine of the highest
quality and one of which the SASMT can be truly
proud. Congratulations.
There are, however, some points that cause concern.
The magazine belongs to the members of the
SASMT. Society developments and activities are of
interest to them and many would welcome space
being allocated to bringing some of these to their
attention.
In March / April 2005, the Annual Conference
took place in Natal. Apart from Marie Gaerdes’s
thought provoking presidential address, there is no
further mention of the conference. Several important
matters were discussed and decisions taken. Interesting
papers were read and master classes were
presented by leading members of the society. Facts
regarding resolutions passed and short reviews of
other activities would surely encourage a higher
attendance at future conferences. Part of the time
was devoted to the election of new office bearers.
These are of utmost importance for the well–being
and future of the SASMT, but few of our members
are aware of the results.
Since 2004, three prominent members, Prof
Rupert Mayr, Prof Hubert van der Spuy and Mr Ivan
Kilian have been awarded honorary membership.
This is the greatest honour the society can bestow
and is surely worthy of a photograph and some biographical
notes appearing in the magazine. Reading
of the achievements of these senior members could
well lead to the formation of role models for ex students
and less active members, which is something
our society desperately needs.
Diane Heller, Johannesburg Centre
Artikels, resensies en nuus kan in enige van die amptelike
landstale geskryf word. Bydraes word geplaas in die taal
waarin dit ontvang word. Voorstelle oor die ingewikkelde
taalkwessies is altyd welkom.
n e w s ~ n u u s
Improvisation Re-visited
South African Music Teacher |144 | November 2006
l e t t e r s ~ b r i e w e
Baie geluk met ‘n puik tydskrif. Die voorkoms, samestelling
en leesinhoud beïndruk en ek vind die artikels,
spesifiek dié oor die Alexandertegniek baie insiggewend
en leersaam. Ek sien met afwagting uit na die volgende
uitgawe vir nog interessante leesstof.
Marietjie Renison, Parys
Voor ek die laaste uitgawe van Die Suid-Afrikaanse
Musiekonderwyser in die hand gehad het, was ek nie ‘n
gereelde leser daarvan nie. Dit het nou verander. Die
tydskrif lyk so goed, en wanneer ‘n mens begin deurblaai
is dit duidelik dat dit nie net aanbieding is waaraan
julle aandag gee nie. Die tydskryf het ‘n samehang en
variasie van inhoud wat geen klein prestasie is nie. En dit
behandel temas en bring inligting aan die bod waarvan
ek nie andersins sou kennis neem nie. Alles baie professioneel
en vakkundig solied. Bravo! Ek sien uit na die
volgende uitgawe.
Stephanus Muller
Is there something in the magazine that you find
informative, provocative, challenging, annoying or even
infuriating? Maybe you would like us to remove some
content or change some aspect of the magazine’s layout.
Did this issue of the magazine connect, inform, challenge
and support you?
Your letter can help The South African Music Teacher
and the South African Society of Music Teachers to reach
important goals. Your opinions can move people to look
differently at their own situations. If your letter is considered
for publication, you will be consulted.
The best letter will earn a R200
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Write to: The South African Music Teacher, PO Box 20573,
Noordbrug 2522, South Africa
Fax. (018) 299 1699 / musdjt@nwu.ac.za
The AGM and conference of the South African Society of Music Teachers will take place at Rhodes University in
Grahamstown from 2 to 5 April 2007. Please send suggestions and submissions for contributions before 15 January
to the president: t.radloff@ru.ac.za.
Die algemene jaarvergadering en konferensie van die Suid-Afrikaanse Vereniging van Musiekonderwysers sal plaasvind
vanaf 2 tot 5 April 2007 by die Rhodes Universiteit in Grahamstad. Stuur voorstelle vir bydraes voor 15 Januarie
aan die president: t.radloff@ru.ac.za.

n e w s ~ n u u s Musiekkamp Beurse 2005 & 2006
Twee jong Suid-Afrikaanse musici het in 2005 en 2006 die musiekkamp in Bottineau, Noord Dakota, by die International
Peace Gardens op die grens van Kanada bygewoon.
Deo du Plessis (2005)
Hierdie jong perkussiespeler van Pretoria was een van ongeveer 200 leerlinge
waarvan 35 van buite die VSA afkomstig was. Die personeel van ongeveer
vyfhonderd het wêreldberoemde leermeesters en dirigente ingesluit. Deo is
gekies as leier van die perkussieseksie in beide die International Youth Band en
die International Wind Ensemble. Hy het ook vir ‘n week lank deelgeneem aan die
marimba en vibrafoon kursus, verskeie meestersklasse ontvang, en as solis saam
met ensembles opgetree.
Gedurende die twee weke het Deo saam met 120 ander musici deelgeneem aan
‘n World’s Fastest Drummer kompetisie. Hy was die algehele wenner en kon die
meeste note binne dertig sekondes op ‘n spesiale trom speel! Deo was verder een
van net dertig leerlinge wat ‘n Outstanding Camper-sertifikaat ontvang het.
Deo is hierdie jaar in matriek aan Pretoria Boys High waar hy as dux-leerling ook
die toekenning vir die beste musiekstudent van 2002 tot 2006 ontvang het. Hy
het hierdie jaar sy graad VIII perkussie-eksamen met lof geslaag en deelgeneem
aan die UNISA beurskompetisie op 13 Oktober waar hy een van nege musici in die finale rondte was. Hy was ook die
dux-leerling by Pro Arte Alphen Park se Musiekakademie. Deo beplan om volgende jaar meganiese ingenieurswese
te studeer, maar steeds in ensembles en bands betrokke te wees. Hy wil graag na voltooiing van sy studies in Amerika
sy studies in perkussie — veral ligte musiek — voortsit.
Annelize de Villiers (2006)
Annelize het in 1999 by die Hugo Lambrects Musiekskool onder Elize Nel met
klarinetonderrig begin. Sedert 2001 ontvang sy verdere onderrig by Charlene
Verster. Sy het al haar eksamens met lof geslaag en verskeie cum laude diplomas
by die Stellenbosch Eisteddfod ontvang. Sy het al in verskeie ensembles en
orkeste gespeel: Hugo Lambrechts Simfoniese Blaasorkes (2003, 2004), Nasionale
Jeug Simfoniese Blaasorkes (2004), Hugo Lambrechts Simfonie Orkes (2004),
en die Hugo Lambrechts Houtblaaskwintet. In 2005 word sy genooi om aan die
Stellenbosch Internasionale Kamermusiekfees deel te neem en slaag haar UNISA
Graad VII eksamen met 86%.
Sy het vir twee weke deelgeneem aan die International Youth Band Program waarin
sy eerste klarinet en seksieleier was in beide die International Youth Band en die
Honour Band. Een van die dirigente — Dr. Reed Thomas, Director of Bands by Middle
Tennessee State University het haar genooi om aan sy universiteit te kom studeer.
Hulle het daagliks vir ‘n uur meestersklasse gehad, en sy het ook beide weke in
‘n houtblaaskwintet gespeel wat elke dag vir ‘n uur geoefen het, en ‘n paar keer uitvoerings gelewer het. Sy het drie
toekennings ontvang: Outstanding Music Camper, Outstanding Achievement by a Band Member (wat slegs aan een
meisie en een seun toegeken is) en ‘n beurs om die sewende sessie, ‘n ekstra week, by te woon.
0 Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

From 18 to 22 September this year the Tygerberg centre
of the SASMT successfully presented the eighteenth
Sanlam National Music Competition in the marvellous
auditorium of the Hugo Lambrechts Music Centre in
Parow, Cape Town. Over the past two decades this event
has become an important, permanent feature of the
South African cultural landscape.
The overall winner this year was the thirteen year old
saxophonist, Hamman Schoonwinkel, who delivered an
impassioned recital programme, maturely conceived
and executed. He was ably supported by the emotionally
charged piano playing of Phillipus Hugo. Hamman’s
programme comprised a complex set of pieces, and
included a masterful interpretation of Pequeña Czarda
by Ilturralde. Selmari du Toit (also thirteen years
old), a pianist who was participating for the seventh
consecutive year, was awarded the second prize. Her
performance of numerous advanced compositions
included the demanding third movement from Ravel’s
Sonatina. Selmari’s playing was marked by clarity and
precision, transparent textures and stylistic awareness
throughout the competition. Christina Brabetz, twelve
years old and a violinist, was awarded the third prize.
A strong, dashing player, Christina rendered works by
Wieniaswki and Paganini-Kreisler like a virtuoso. This
exciting tour de force was given substantial backing
by Tersia Downie, who officiated at the piano. Jason
Mayr (twelve) was awarded a category prize for ‘other
instruments’ for his recorder playing.
The identification and fostering of exceptional learners
during their primary school years is one of the aims stated
by the founder of this competition — Prof Hubert van
der Spuy. The success of participants after the competition
is proof that this aim is achieved. The competition
provides a unique and rewarding learning experience
for each participant, and an atmosphere of supportive
camaraderie exists between the participants, their parents
and teachers. A ‘family spirit’ is experienced during
the competition week, and fostered in and outside
the performance venue. Marie Gaerdes’s observation in
her presidential address (SAMT, May 2006: 26) that “the
healthy music education of the very young child [is one
aspect, whilst] on the other hand [there are] competitions”
suggests a polarisation of the two activities. The
positive and amicable climate which has been guarded
at the Sanlam competition since its inception and the
results of the competition show that Gaerdes’s observation
is not necessarily universally true.
To progress from the Sanlam competition to the ABSA
competition (for high school learners) has become a
natural path for most Sanlam participants. For example,
in 2004 nineteen of the forty participants in the
ABSA competition had previously ‘cut their teeth’ in the
South African Music Teacher |144 | November 2006
The Sanlam National Music Competition 2006
Sanlam competition. The fruits of the Sanlam competition
are evident when the ever-increasing tender age of
prize-winners at the ABSA Competition is considered.
This year Reabetswe Thipe (2004 overall winner of the
Sanlam competition) and Michael Duffet (a participant
in the 2003 and 2004 Sanlam competitions) won joint
first prize at the ABSA competition. Both winners are fifteen
years of age and perform with consummate skill.
Numerous entrants in the ABSA competition frequently
continue to develop their performance careers in early
adulthood through participating in the ATKV national
competition as well as through appearances with professional
orchestras. In 2004 seven out of twenty-eight
finalists in the ATKV competition were former Sanlam
participants. All this clearly displays the musical and
educational value of the Sanlam competition.
A further dimension of the Sanlam competition is the
promotion of South African compositions. This is due, to
a certain extent, to the existence of a prize for the best
performance of a South African composition during the
competition. During this year’s competition the works of
thirteen South African composers were showcased with
Peter Klatzow and Hubert du Plessis each represented
by two works. In previous competitions the Cape Town
composer Dimtri Roussopoulos was commissioned to
write works which were premiered by participants at the
competition, such as The Edge of Eternity (2003) for flute
and Song of the Old Buccaneer (2004) for saxophone. The
trend was unfortunately not continued this year. It is,
in my opinion, an important aspect of the competition
which ought to be endorsed and expanded by participants
and their teachers, since the competition strives
to inculcate both the creative and performance aspects
of South African classical music.
A successful innovation at this year’s competition was
the inclusion of a short recital performed by the 1991
winner, guitarist James Grace. This is a feature which
the organising committee could successfully develop
in future competitions. The opening programme on
Monday, 18 September, highlighted the talent of the
2005 winner, Jacqueline Wedderburn-Maxwell. She performed
with musical insight the Bruch Violin Concerto,
and was supported by the Hugo Lambrechts Symphony
Orchestra under the direction of Leon Hartshorne. The
appearance of both Wedderburn-Maxwell and Grace
during the competition displays the interest of the organisers
in building upon the foundations of the competition
and in forging a festive atmosphere during the
week of the competition.
This landmark event has evolved into a celebration of
South African talent and deserves the support of all
who encourage our young and growing musicians.
Dr Jeffrey Brukman

Michael Whiteman, musician, mathematician and mystic,
completed a lifespan of one hundred years on 2 November
2006. And he still is very much up and about!
Those who know him are incredulous of the idea that he
has, in fact, aged in years. Admittedly, his body has not
been able to escape all attendant symptoms of aging
(his knees are a bit ‘wobbly’ and he had to sell his car!),
but his indefatigable mind and spirit are as agile as ever.
Always active, they are constantly weighing up new
ideas against handed down traditional beliefs, probing
with relentless logic and dissecting with the sharp edge
of a scalpel. That is Michael, the mathematician and
scientist.
Michael the mystic is another side of this great mind,
developing profound strands of thought on mysticism,
comparative religion, philosophy of science, parapsychology
and psychopathology — writing and publishing
widely. His next book is due to be published
in time for his hundredth birthday celebrations.
When thinking of Michael the musician, what first
comes to mind is his unselfish dedication to the
South African Society of Music Teachers through
more than five decades. (I partly quote from my
presidential address in March 1991 at the Stellenbosch
conference, when Prof Whiteman’s 50
years as editor of our society’s journal were celebrated;
published in The South African Music
Teacher, vol 118, June 1991.) He became editor of
this journal in July 1941 (No. 20) and continued
compiling, editing and seeing through publication,
each and every issue of the journal until No.
127 in December 1995. Apart from this he has
been President (1948, 1957 and 1962), Vice-President
Western Cape (1950, 1952-1956), member
of council for at least 50 years; also member of
many executive committees, for many years trustee
of the SASMT Benevolent Fund, also for many
years representative of the SASMT on the CAPAB
Music Committee, our anchor and adviser in constitutional
and other matters of the SASMT and
— how else could it be? — an outstanding music
teacher in his own right. He regularly held licentiate
classes for piano teaching method and paper
work and prepared piano students for their practical
examination, resulting in about 65 diploma
successes.
A major contribution to the structure of the
SASMT was his reworking of the constitution in
Prof Michael Whiteman on his 100th birthday
Reino Ottermann
order to also include institutional membership for universities
and other centres of music education. Those
of us who have been more closely associated with the
SASMT remember him as the indefatigable defender of
the constitution of the SASMT, sometimes to the irritation
of less informed conference members, but many
times saving us embarrassment vis-à-vis our own constitution
or, even worse, being caught off-side to our
own detriment. No wonder that honorary membership
of the SASMT was conferred on him in 1971.
Michael Whiteman was born on Tulse Hill, London, on 2
November 1906. He was educated at Highgate School
and at Caius College in Cambridge. After some time in
his father’s publishing business and a number of years
as scholastic head of Stafford’s School in Harrow Weald
he and his wife, Sona, came to South Africa in January
1937 where he accepted a position at the Diocesan
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

College in Rondebosch. In 1939 he joined the University
of Cape Town’s staff, lecturing pure mathematics and,
later, applied mathematics. In 1943 he was awarded a
doctorate for research into the philosophical foundations
of mathematics. And then, also in 1943, he became
lecturer in music at Rhodes University College in
Grahamstown! His eminent suitability for this post is
best proven by a quotation from the South African Music
Encyclopedia (vol. 4, 1986) in which his development as
a musician is outlined:
His piano lessons had started in 1913 and later
were continued with his future wife Sona at Stafford’s
School. In 1938 he obtained the L. Mus. TCL
in composition and then consecutively the FTCL
(1940), the B. Mus. of UNISA (1943), and an M. Mus.
of the University of Cape Town (1947). From 1937
to about 1942 he devoted himself to the French
horn and to conducting (under the supervision of
Professor Stewart Deas). In Cape Town he acted for
many years as an additional horn player in the city
orchestra and as the originator and conductor of
a small orchestra which performed at ballet performances
produced by Dulcie Howes and at Rose
Ehrlich’s Shakespearean Productions. Between
1940 and 1942 he also applied himself to learning
the cello and eventually participated in chamber
music performances.
In Grahamstown he lectured, played chamber music
and two piano works, conducted a madrigal choir and
occupied himself with composition. But he returned to
the Department of Applied Mathematics at Cape Town
University in 1946 where he finally became Associate
Professor. What a fascinating life story!
When I think of Michael Whiteman, loyalty, reliability
and integrity, absolute dedication, sincerity and modesty,
and a wonderful sense of humour are some of the
most outstanding characteristics that come to mind. All
this is not only supported, but also, as it were, transilluminated
by the profound spirituality which I so deeply
admire in him. We are indeed fortunate to have a man
like him who has through all these years not only shown
but also lived an unconditional involvement in the weal
and woe of our society.
Prof Michael Whiteman became involved in the affairs
of the SASMT at the beginning of 1941. And now, after
65 years and after a lifespan of a whole century, he still
has the affairs of the society at heart — albeit somewhat
detached, leaving space for all the other interests which
have made the life of this remarkable musician, mathematician
and mystic so unique.
We congratulate him on this extraordinary birthday and
thank him for everything he has done for our society.
May the following years be as rewarding and brimful of
the marvellous thoughts and ideas that have been the
distinctive features of a life richly and humbly lived.
South African Music Teacher |144 | November 2006
South African Auditions for
The World (Youth) Orchestra
International tours in Canada
and Europe
The World Orchestra of Jeunesses
Musicales International (WOJM) is
preparing its annual auditions for the
2007/08 season. South African musicians
and musicians of all nationalities wanting
to become members of this wonderful
project can apply for auditions online
on www.lmwo.org before the 15th of
November 2006. Candidates must be
aged between 18 and 28, and auditions
will be organised in each country by
national sections of Jeunesses Musicales
– in South Africa by Jeunesses Musicales
South Africa, based at the Potchefstroom
campus of the North-West University,
step one being applying online.
Since WOJM moved its headquarters to
Valencia (Spain), it has toured China,
the Netherlands, Austria, Spain and
Cyprus. New members will join The
World Orchestra for the next season to
travel in Canada and Europe.
As UNESCO Artist for Peace, The World
Orchestra is committed to peace,
interculturality, solidarity and cooperation
between cultures. Formed by a hundred
musicians from forty countries and
conducted by Maestro Josep Vicent,
WOJM tries to communicate its message
all over the world.
The new WOJM focuses on contemporary
classical music of the 20th and 21st
centuries and encourages interactions
between other musical forms and
traditions such as ethnic, jazz or
contemporary non-classical music. The
repertoire always includes new pieces
specially written for the orchestra.
www.jmwo.org
Department of Culture, NWU, Potchefstroom,
2520. Tel (018) 2992844, Fax.
(018) 29928942.

A s s e s s i n g P r o g r e s s i n M u s i c
T h o r o u g h r e s e a r c h o n t h e a s s e s s m e n t o f
m u s i c p e r f o r m a n c e s , r e v e a l s u n e x p e c t e d
i n s i g h t s . F a r f r o m b e i n g i m p e n e t r a b l e
a n d u n r e l i a b l e , i t m a y b e a p a r a d i g m f o r
s u m m a t i v e a s s e s s m e n t i n o t h e r s u b j e c t s .
Much has been written on assessment in music. For example,
the US publication Assessing the Developing Child
Musician by Tim Brophy (2000), runs to almost 500 pages.
I do not intend to duplicate all that effort here, but to make
some observations about what it might mean to assess
progress in music musically.
The system for assessing music in the national curriculum
for music in England is ‘holistic’ rather than ‘segmented’.
Instead of giving students marks (perhaps out of ten) for
many different aspects of music, and adding them all up to
give a total mark that tells you how good a student is (segmented
assessment), teachers are expected to consider a
student ‘in the round’ (what I would call holistically), and
to consider which of the published ‘level descriptions’ they
match most closely. While I have already questioned some
of the content of the published level descriptions, 1 I think
that this is a musical approach to assessment.
Let us take the example of performance in music. As I
leave a concert, I have a clear notion of the quality of the
performance that I have just heard. If someone asks me to
justify my view, I may start to talk about rhythmic drive,
or interpretation, or sense of ensemble, for example. But I
move from the whole performance to its components. I do
not move from the components to the whole. In particular,
I do not think: the notes were right, the rhythm was
right, the phrasing was coherent, and so on – therefore I
must have enjoyed this performance. And I certainly do
not think something such as:
SKILLS + INTERPRETATION = PERFORMANCE
I recall performances that have overwhelmed me, despite
there being a handful of wrong notes. I remember others
in which the notes have been accurate, and the interpretation
has been legitimate, and yet the overall effect has been
sterile. A performance is much more than a sum of skills
and interpretation.
Segmented marking systems are used routinely in some
other subjects, and may be appropriate in some fields of
music. For example, teachers assessing students’ recall of
Janet Mills
factual information about music, or success in solving a
mathematical problem, typically use such schemes. The
point is that the assessment needs to fit the behaviour being
assessed. A musical performance is not a mathematical
problem.
Mathematical problems are sometimes set to provide a
context for the assessment of qualities such as aspects of
mathematical thought. Here, it makes sense to use a segmented
marking scheme that will tease out the aspects to
be assessed, and to ask students to present their solutions
so that they can be given a mark for each of the aspects
that they have grasped. Otherwise, a student who has been
through the intended thought processes, but has produced
no evidence of this, and who perhaps gives an incorrect
answer because of some trivial computational error at
the end, for example, will not receive appropriate credit.
Musical performances are not like this. There is no need
for musical performance to be set in a context: it provides
its own. The musical performance assessor is fortunate in
being presented with the actual behaviour that he or she
is to assess. It makes no sense to dissect the performance,
give a mark for each of the bits, and then reassemble them
by adding up the marks.
One sometimes hears teachers arguing for segmented assessment
on the grounds that holistic assessment is ‘subjective’.
Of course, all assessment is subjective, in the sense
that human beings determine how it is done. Even the
most detailed mark scheme for a mathematics problem
— perhaps one that justifies exactly what a student has to
write in order to gain each mark — is subjective because
it was designed by a human being. Other human beings
might have set a different problem, or structured the mark
scheme in some other way. That assessment is subjective,
in the sense that human beings are involved in it, is surely
something to be celebrated rather than bewailed. The material
being assessed is, after all, human endeavour.
Subjectively, then, I would argue is not necessarily a problem.
But what of reliability? Are students who are assessed
holistically more likely to be given differing marks by
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

different assessors than students who are assessed using a
segmented scheme? Not necessarily. Holistic assessment
is not totally reliable, in the sense that all assessors will
always come to complete agreement. On the other hand,
neither is segmented assessment totally reliable. It is not
clear why marks for components of performance, such as
rhythm, should be any more reliable than marks for performance
itself, and a segmented marking scheme simply
combines a series of marks for such components. In fact,
Harold Fiske, 2 working in Canada, reported an experiment
in which holistic assessment was found to be more reliable
than segmented assessment. Fiske collected cassette
recordings of a series of trumpet performances, and asked
music students to assess them on five scales used in local
music festivals: overall, intonation, rhythm, technique,
and interpretation. He found greater interjudge reliability
for the overall grade than for any of the segmented grades.
In other words, there was much less agreement about ratings
for intonation, rhythm, technique, and interpretation
than there was for overall ratings. Why should this be? I
would suggest two reasons:
1.
2.
Overall performance is real. In other words, all
the judges hear the same performance. If we are
to assess a component of the performance, such
as rhythm, on the other hand, we must filter out
much of the other material. Our ability to do this,
or our technique of doing this, will vary. Thus our
perceptions of the rhythmic element of a performance
may differ. Abstracting rhythm from melody
is not a conceptually simple matter like filtering out
impurities from a sample of rain water, or absorbing
light rays within some defined frequency range:
melody consists of a dynamic relationship between
rhythm, pitch, and a host of other variables. Indeed,
it is not clear what the expression ‘the rhythm of a
performance’ really means.
We are practised in the assessment of overall performance.
Every time we listen to a TV theme tune,
a pop song, a Mahler symphony, or the ringing of
mobile phone, we have the opportunity to make
judgements about what we hear. On the other hand,
we are less frequently presented with examples of
pure rhythm or intonation, whatever either of these
mean, to assess.
It might be possible to train assessors to become more
reliable in segmented assessment. But why should one
bother to do this? If holistic assessment is already more
reliable, surely it makes sense to use training in an attempt
to strengthen it further?
Holistic assessment is sometimes criticized on the grounds
that assessment is credible only if it is possible for an assessor
to verbalize exactly what they are doing. Musical
performance is an essentially nonverbal activity, and its
reduction to a verbal common denominator seems of uncertain
value. Yet there are elements of holistic assessment
that can be verbalized, as an experiment that I carried out
some years ago illustrates. 3
South African Music Teacher |144 | November 2006
I started by arguing that, as holistic assessment has some
inter-judge reliability, it is reasonable to suppose that there
are common aspects to individuals’ holistic assessments.
However, we do not know what these common aspects
are: the experiment was intended to find them.
The theoretical background to the experiment was drawn
from personal construct theory (PCT). 4 George Kelly, a
psychotherapist, believed that a person sees other people
through a personal system of constructs. A psychotherapist
who knows a client’s construct system has a basis for
planning, and then starting, therapy. But clients typically
cannot explain their construct system to the psychotherapist:
it has to be elicited. Consequently, Kelly developed a
technique that he called triangulation: a client is presented
with the names of three people he or she knows, and asked
to state a way in which two are the same and the other is
different. The extent to which the factor suggested is one
of the client’s constructs is then explored.
In my experiment, I looked for the constructs that might
be used as a framework for holistic assessment of performance
in music. Again, they were hidden. But a substantial
difference from Kelly’s situation was that I hoped to find
a universal, not personal, system. However, triangulation
again proved a useful technique.
Initially, I made a videotape of five solo musical performances,
each on a different instrument. All the performers
were judged by their teachers to be of at least Grade 8
standard, and were of similar age (15-19). Eleven student
teachers with widely differing musical experience watched
and ranked the five video performances, and then I interviewed
each of them individually. I chose three performances,
and asked students to describe a characteristic that
two performances had, but the other lacked. I then asked
students to tell me whether the remaining two performances
had, or lacked, this characteristic. By repeating the
exercise with different groups of three performances, I
established what was, I hoped, some of the individual’s
constructs. I then pooled the supposed constructs of the
eleven individuals, obtaining the following list:
C1 The performer was CONFIDENT/NERVOUS
C2 The performer DID ENJOY/ DID NOT ENJOY playing
C3 The performer WAS FAMILIAR WITH/HARDLY KNEW
the piece
C4 The performer MADE SENSE/DID NOT MAKE SENSE of
the piece as a whole
C5 The performer’s use of dynamics was APPROPRIATE/
INAPPROPRIATE
C6 The performer’s use of tempi was APPROPRIATE/
INAPPROPRIATE
C7 The performer’s use of phrasing was APPROPRIATE/
INAPPROPRIATE
C8 The performer’s technical problems were HARDLY
NOTICEABLE/DISTRACTING
C9 The performance was FLUENT/HESITANT
C10 The performance was SENSITIVE/INSENSITIVE
C11 The performance was CLEAN/MUDDY
C12 I found this performance INTERESTING/DULL

The next stage was to see what happened when another
29 assessors were asked to use C1-C12 to judge performances.
This time, the video recording consisted of a series
of ten solo performances, each on a different instrument.
There were two groups of assessors:
Group 1: Twelve music teachers and student teachers
specializing in music
Group 2: Seventeen student teachers specializing in subjects
other than music
Some members of this group had shown interest in
music through, for example, joining their college
choir. But none had studied music at school beyond
the age of 16, or taken instrumental lessons since
leaving school.
The assessors were asked to imagine that each performance
was part of a Grade 8 examination, and to assess the
performance as seen and heard without making any allowances,
for example for performers who looked younger.
For each performance there was a double-sided sheet to
be completed. On the first side, the assessor gave a single
mark of up to 30 using the Associated Board of the Royal
Schools of Music’s criterion-referenced classification system
(distinction, merit, pass, and fail) as a guide. On the
second side, the assessor rated the performance on each of
the twelve bipolar constructs using a four-point scale.
The marks given by individuals for performances were converted
into ranks, with the performance given the highest
mark being assigned a rank of one. The constructs were
scored from one to four according to their placing on the
four-point scale. There was a positive correlation between
each of the constructs and the overall rank ranging from r
= 0.4 (C6) to r = 0.7 (C10 and C11) (n = 290). 5 I followed
this up with another statistical technique: multiple regression
analysis. 6 This showed that the constructs accounted
for more than two-thirds of the variance in the ranking
of the performances, for both Group 1 and Group 2. This
indicates that the holistic assessment could be accounted
for in terms of common constructs to a substantial extent.
It is interesting that there is so little difference in the results
for Groups 1 and 2, i.e. that there is little apparent difference
in the holistic assessment according to the extent of
formal musical expertise. This offers tentative support to
the theory that the reliability of holistic assessment stems,
at least partly, from practice in every situation.
We have seen that holistic assessment has advantages over
segmented assessment. It is more musically credible, in
the sense that it is more like assessment made of musical
performance in the real world. In addition, it can be more
reliable, and no more subjective.
This discussion has been possible only because there is
some general understanding of what is meant by ‘performer’
and ‘performance’. We have some idea of what assessment
systems in this field are trying to predict. We can
tell if the marks produced are nonsense.
This is an unusual situation. Much educational assessment
with an outcome of a single mark or grade takes place in
a less certain context. We may know what a performer is,
but do we know what a musician is? Yet we routinely combine
marks obtained for listening, composing, and performing
to give a music GCSE, or A level grade. Is there an
understanding of what a mathematician or a scientist is?
Yet we combine marks to give single grades also in these
subjects.
It is sometimes argued that there is something particularly
difficult about assessment in the arts. Might it not be that
some areas of the arts offer opportunities for particularly
rigorous assessment? If we understand what behaviour
we are trying to measure, then we can tell if the marks
we obtain are sensible. Perhaps those who devise summative
assessment systems for non-arts subjects could learn
something from looking at aspects of the arts.
BIBLIOGRAPHY AND FURTHER READING
FISKE, M. 1977. Relationship of Selected Factors in Trumpet
Performance Adjudication Reliability. Journal of
Research in Music Education. 25(4):256-263
KELLY, G. 1955. The Psychology of Personal Constructs.
New York: Norton.
MILLS, J. 1991. Assessing Musical Performance Musically.
Educational Studies. 17(2):173-181.
MILLS, J. 2005. Music in the School. Oxford: Oxford University
Press.
Reproduced from Music in the School by permission of
Oxford University Press (www.oup.com).
ISBN 0-19-322300-7
Janet Mills is a Research Fellow at the Royal College of Music, London.
She began her career as a secondary school music teacher,
and was a teacher trainer prior to working for
ten years as an HM inspector of Schools. She
works widely in schools, universities and the
community. Her writing includes Music in the
School (OUP 2005), Music in the Primary School
(CUP 2001) and many research articles.
1.
2.
3.
4.
5.
6.
See Mills 2005:156
Fiske 1977
Mills 1991
Kelly 1955
Correlation coefficients (denoted r) can range from 1 (perfect
positive correlation) to 0 (no correlation) to -1 (perfect negative
correlation). So the marks that assessors gave the performance
were influenced most by whether the performance was
clean or sensitive, and least by whether they thought that the
tempo was appropriate.
The multiple regression analysis searched for values a1 to a12
such that a ‘regression’ equation of the form:
Rank = a1C1 + a2C2 +a3C3 + … + a12C12
accounts for as much as possible of the variance in ranks, when
calculated across the 29 x 10 = 290 performances heard. The
regression equation that was calculated here accounts for
71% (n = 290) of the variance in the ranks. The separate figures
for Groups 1 and 2 are 73% (n = 120) and 69% (n = 170)
respectively.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

D i s t e v e r o m t e r y . . .
I t w a s t o o f a r t o d r i v e . . . W i t h t h e n e a r e s t e x a m i n a t i o n
c e n t r e s i x h o u r s ’ a w a y , t h i s m u s i c t e a c h e r d e c i d e d t o
e s t a b l i s h o n e i n h e r h o m e t o w n .
When we moved to the United States in January 1999, I
knew that my life would change dramatically. I had always
been a ‘career woman’, working full-time through my pregnancies
and while bringing up two boys. Now, because of
visa restrictions I would not be allowed to earn an income
in our new country of residence. I decided to throw myself
into being a ‘lady of leisure’, which meant running a
household, driving two teenage boys and their friends to
and fro, and getting involved in volunteer work. After four
years of this, I felt I needed something new in my life. The
dream of returning to piano, which I had always pushed
away far into the distant future, finally became a reality
when I signed up for lessons with Olga Jaynes at Burt Music
School, in Cary, my new hometown in North Carolina.
In the fall of 2003 I also signed up for theory lessons with
Tom Lohr at the School of Music at Meredith College for
Women, a local private university, in Raleigh, our capital
and neighboring city. Olga, originally from Ukraine, and
a recent transplant like me, inspired me with her love for
the piano and her dedication to her students. Tom at the
same time opened up a whole new world for me with his
knowledge of music theory and his amazing ability to convey
all this knowledge in a concrete way to a student. I was
hooked, and knew that from now on piano would be a major
part of my life, as it had been when I was growing up.
Coming from South Africa, I knew about the music examination
system of the University of South Africa
(UNISA) as well as those of the Associated Board of the
South African Music Teacher |144 | November 2006
Marietjie Wessels
Royal Schools of Music (ABRSM), and similar systems in
other countries. I was keen to find a corresponding system
in the United States, and work to get up to at least Grade
8 level. To my surprise, I couldn’t find anything similar
in the United States. The closest I could get was the program
of the National Guild of Piano Teachers that offers
18 different levels of adjudication, in six different categories,
but with no prescribed lists of repertoire to choose
from (only guidelines). The Guild system did not seem to
set any national standard for music teaching and learning,
and my music teachers were not participating members of
the Guild at the time, so I abandoned the idea of enrolling
in their program.
In September of 2003 we received our permanent residence
permits (‘green cards’), and I was now allowed to
work in the United States, something my husband had
been looking forward to! There was no way I was going
to give up my piano and music lessons, so I had to make
a plan. A friend suggested that I become a piano teacher.
I balked at the idea initially because I felt I had not been
trained as a music teacher. However, both Olga and Tom
encouraged me to do that, and suggested that I join the
local piano teachers’ associations. In the summer of 2004
I joined both the Cary-Apex Piano Teachers’ Association
(CAPTA — 53 members) and the Raleigh Piano Teachers’
Association (RPTA — 140 members), and slowly became
involved in the world of piano teaching.

In January 2005 I noticed in a RPTA newsletter that RACE
was looking for a center representative in North Carolina.
When I made further enquiries I found out that RACE was
the acronym for Royal American Conservatory Examinations,
which had just been established in the summer of
2004. When I logged on to their website (http://www.royalamericanconservatory.org),
I became really excited. This
was just what I had been looking for!
RACE offers a Certificate Program in collaboration with
The Royal Conservatory of Music, founded in Canada
in 1886. As is the case with the UNISA exams in South
Africa, students are assessed in the practical areas of repertoire,
technique, ear training and sight reading, while
there are separate theoretical examinations in rudiments,
harmony, keyboard harmony, counterpoint, analysis and
music history. Unlike the UNISA system, the levels in
both the RCM and RACE systems range from Grade 1 to
Grade 10, with the top certificates being the Performer’s
and the Teacher’s ARCT (Associate of the Royal Conservatory
of Toronto). In addition, RACE offers two pre-grade
levels, namely, Preparatory A and Preparatory B, roughly
corresponding to one and two years of piano study respectively.
In order to receive their Preparatory Level Certificate,
students need to do both the A and B levels practical
examinations, and write a Preparatory Theory paper.
Another difference between RACE/RCM and the UNISA
system is that the former offers the student a much bigger
choice of repertoire in each list. For instance, in Grade 8,
the number of works ranges from 21 in List B (Classical
and Classical-style) to 56 in list D (20th century).
What I found particularly appealing about RACE is that
their certificate program offers a national standard, based
on an internationally recognized system that is more than
a hundred years old. (More than 17,000 teachers and
100,000 students are involved in the RCM/RACE program
every year, the majority of them being from Canada at this
stage.) I knew that I had found the program I wanted to
do, but was not sure whether I was ready to take on the
task of becoming a RACE center representative, since that
would take time away from my own music studies. (By
this time I had switched to Tom Lohr for piano instruction
and was also taking music courses (for non-degree
purposes) in the Department of Music at Meredith College.)
However, when I saw that the closest RACE center
was about six hours’ drive from Cary, in the neighboring
state of Virginia, I started toying with the idea of getting
a center started in our area. I contacted the president of
RPTA, Kathy Sparks, who informed me that no one had
responded to the invitation yet.
To cut a long story short, in the summer of 2005 I signed
the contract to become the first RACE center representative
in North Carolina, with my home studio being the
center for the time being. Kathy Sparks was very enthusiastic,
and recommended to the Board of RPTA that they
invite Dr Scott McBride Smith, president
of RACE, to come and do a workshop on
RACE at the November RPTA meeting.
The workshop was open to all interested piano teachers,
parents and students in the area, and was attended by
about one hundred people. It was a great success. For close
to two hours Dr Smith kept the audience informed and
entertained with background on the state of music teaching
in the USA, and the objective of RACE to provide a
national standard. A point he stressed is that RACE uses
RACE encourages students to register online, to
speed up the process and cut out unnecessary paper
work for the RCM staff in Toronto, who do the
administration. Teachers are also encouraged to
register with RACE and obtain a Teacher Number.
When students register online, they get the opportunity
to enter their teacher’s number, which gives
the teacher access to the students’ examination
information on the RACE web site, via the Teacher
Services link. When students register the first time,
they receive a Candidate Identification Number
which they keep for as long as they take part in the
RACE program. They also receive a confirmation
number and get the opportunity to print out an Examination
Appointment Confirmation form, as well
as a Piano Examination Schedule. The latter form
includes all the student’s particulars, the scheduled
time of the practical examination, and the Piano
Examination Program. Students are required to indicate
on the Examination Program whether they
prefer to start with the repertoire or the technical
requirements during the examination. They also
need to list all pieces played in the order in which
they will be played for the judge.
On the day of the examinations candidates need
to bring both forms with them to the examination
center. The center representative checks the first
one against her/his list of registered candidates, and
checks that the second one is completed correctly
before the candidate hands it to the examiner.
examiners who are trained to be as objective as possible
and assess performance according to a uniform standard.
Examiners are also constantly monitored to ensure that
they ‘stick to the standard’ and provide useful, informative
comments on the evaluation forms. After the workshop I
was approached by Janet Mahoney, a fellow CAPTA member,
who offered her brand new business, Village Music
School, Inc. in Carpenter Village subdivision in Cary as a
possible center for RACE. (A subdivision is almost like a
gated community development in South Africa, but without
the gates.) When I visited Village Music School, Inc.
and saw the lovely facilities I knew that I had found the
ideal venue. So, in December 2005, Village Music School,
Inc. officially became the first RACE center in North
Carolina.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

In the meantime I had received the facility booking forms
(electronically) from Robin Virzi, the very efficient RACE
Center Coordinator in Dayton, Ohio, which required me
to estimate the number of students who would take part
in the practical and theory examinations in May 2006.
(RACE offers examination sessions twice a year, in December
and in May, but because ours was a new center,
we had to wait for the May session.) Since examiners are
sent from Canada for the practical examinations, I also
had to provide names and addresses of suitable hotels on
the booking forms.
By then I had put together an email list of interested teachers,
who sent me their estimates for the examinations. It
seemed that there would be around 20 students doing the
practical and two doing theory examinations. On 10 January
2006 Robin informed all center representatives that
online registrations had opened, with the due date set as
27 February (which was eventually extended to 6 March).
In April I received the paperwork for the theory and practical
examinations via courier from Toronto. It turned out
that two students had registered for the theory examinations
as expected, while 23 students had registered for the
practical examinations, covering a range from Preparatory
A to Grade 7. The RACE/RCM theory examinations have
a fixed timetable, with examinations taking place on the
Friday afternoon and the Saturday morning of the second
weekend in December, May and August respectively. So,
on Saturday, 13 May, I supervised (or proctored, as they
say over here) the two theory candidates, aged 6 and 8.
The experience brought back memories of my own childhood,
and the writing of similar exams decades before in
South Africa. I thought about how much had happened
in my life since then. When I wrote my theory papers in
the early seventies, who would ever have dreamt that more
than 30 years later, I would be supervising two students in
the USA, doing the same kind of examination!
On 20 May, the next Saturday, I arrived early in the morning
at Village Music School, armed with my list of instructions
for the day, posters to be put up in conspicuous places,
and food and drink for the examiner, Judy Home, who
arrived shortly after me. (I took my role as host to the examiner
very literally, to her amusement, I suspect). Soon
after that, the first nervous-looking student arrived. (For
USA students, a RACE examination is something totally
new). Judy showed me how she would like the examination
program to be filled out, and then we were ready to
begin, a few minutes ahead of schedule.
As the day went on, students and parents turned up in
drips and drabs, according to their scheduled times, and
I had the opportunity to interact with a number of new
people, and put faces to the names on my lists. It was an
interesting mix of students and parents: some were from
the UK originally and were keen to find a system similar
to those of the ABRSM and Trinity-Guildhall; some were
from Canada where they participated
in RCM exams; others, like
my students, were USA born and
South African Music Teacher |144 | November 2006
bred — or immigrants, like the young student from Russia
— but keen to investigate something new.
At the end of the day, Judy and I packed up and said goodbye,
both hoping that this was not the last time we would
see each other. (We had got to know each other a bit over
the lunch break that day, when we swapped life stories
over a salad and a cup of tea at the pleasant little café right
next door to the music school.) We expressed our thanks
to Janet Mahoney and her husband (the ‘general manager’)
for their trouble to make the first RACE session at the
North Carolina center in Cary so memorable for everyone
involved. As I drove home that afternoon I felt really
good about how the day went, and proud that I could have
been part of the process of getting RACE established in
North Carolina. I have since ‘handed over the reigns’ to
Dean Leviner, a fellow teacher, who teaches at Village Music
School so that I can focus on my own preparation for
future RACE examinations. (My music ‘studies’ had to be
pushed to the back burner this past year, unfortunately.)
Who knows, perhaps in May 2007 I will be a nervouslooking
student in the waiting area of the RACE center
in North Carolina, clutching my forms and books while
waiting to be called into the examination room!
BELVILLE ACADEMY OF MUSIC
Registrar: Julian Weyers, BMus (UK) UTLM(thc) TJD
Curriculum includes:
All instruments, Singing and Music Theory (Junior
Musicianship, General Musicianship, Grade 8 Harmony
and Licentiate Harmony)
Examinations: UNISA, Associated Board of the
Royal Schools of Music, Trinity College of London
(from beginners to licentiate in both categories)
Practical Music Grade Examinations in Piano,
Guitar, Violin, Recorder (descant and treble),
Singing (children and adults),
Clarinet and Saxophone
Studios available for practising
Regular concerts
Background music:
(Classical and Light Music)
available for all functions
Training: of children’s voices from 8-16 years
Enquiries:
The Registrar
Belville Academy of Music
PO Box 5033
7535 Belville
Tel./Fax. (021) 945-4979

N o m o r e H a t i n g
T h e o r y : M i s s i o n
I m p o s s i b l e ?
W h e n a s s e s s m e n t i n m u s i c
t h e o r y i s g u i d e d b y s o u n d
p r i n c i p l e s , w e m a y b e a b l e
t o e n g a g e o u r l e a r n e r s ’ l o v e
o f m u s i c t o m o t i v a t e t h e i r
p r o g r e s s i n m u s i c t h e o r y .
We m a y h a v e t o r e t h i n k a
f e w o l d f a v o u r i t e s , t h o u g h …
Music educators can try to understand their learners in
many ways. One way is to see them in terms of what role
music will play in their vocational lives once their formal
music education has ended. This perspective allows us to
place our learners on a continuum with, on the one end,
those learners for whom music will be a (hopefully enjoyable)
part of their lives, but not a means to earn their
livelihood. Some learners may occasionally earn income
by performing at weddings or arranging something for
a choir — or whatever strikes their fancy and will seem
worthwhile for them to do. They differ in degree from
those at the other end of the continuum for whom music
will be a career. We do not suggest that teachers apply this
continuum in order to differentiate their actions towards
their learners. No, becoming aware of the ways we think,
may help us avoid — even if only in hindsight — the traps
that our own thinking sets. Should we as educators not
aim to enable all our learners to participate as fully as they
would want to in the music of their communities, while
they are studying, and afterwards? If we take this question
as a guiding aim of music education, we should ask
ourselves: “What skills, knowledge, attitudes and values
should I cultivate in my learners?”
The contexts in which educators work are of course very
different. To pretend that we can give general guidelines
for music theory examinations that can be applied generally
would be nonsense. Therefore, as a starting point for
this discussion of the principles of assessing outcomes in
music theory, 1 we ask twelve questions on teaching and, by
implication, on testing and examinations. These questions
may enable our readers to understand the perspective
from which we write, and may be a guide for those who
want to reflect critically about music theory exams.
Jacomine Pretorius & Hannes Taljaard
Some assessment practices (also some that are current)
can most definitely strain the development of a learner’s
musicianship, while other practices can develop it. One
of our tasks as educators is to know the difference and
apply our insight! This need for responsibly informed
critical reflection extends to all our (educational) practices
as musicians — also because our learners need role
models. David Elliott writes: “Music education should
be carried out by teachers who are musically competent
themselves. […] This is how children develop musicianship
themselves: through actions, transactions and interactions
with musically proficient teachers.” 2
Critical reflection is a daunting task, but one that is made
somewhat lighter when we have philosophies that can
guide us. Our study of the literature on assessment, also
in music education, has led us to believe that constructivism
is such a philosophy. We researched and discussed
publications on assessment, and discovered that the currently
recommended principles of assessment are congruent
with the basic tenets of constructivism in education.
Explaining constructivism might require one whole issue
of this magazine; therefore we suggest the reading of some
of the publications mentioned here as a starting point for
exploration. For us, one principle of constructivism has
proved very valuable in guiding our reflection on assessment:
learner-centeredness. Sandra Stauffer 3 writes that
“In the end, assessment should be a celebration of each
student’s learning — a time when he or she can say with
assurance and pride, ‘I can do these things, I know these
things; I am a musician.’”
We identified fifteen principles of assessment during
our research. Reflecting on these principles led us to
0 Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

e-evaluate almost all our current assessment practices and
helped us to design and implement new ways of discovering
how our students are achieving the desired learning
outcomes. In this article we present some of these principles,
and our experience of working with them, as advice
to teachers.
the role of the teacher
Teachers are the most important agents of change in the
classroom, 4 and they form an integral part of the social
construction of meaning by learners. 5 When we as educators
understand the important functions that assessment
and the results of assessment play in our learners’ lives,
we can find the initiative and enthusiasm to develop the
best possible ways to assess. Educators will do well to acknowledge
that things can be done better, to value our own
enquiries and uncertainties as life-long learners, and then
take the difficult and time-consuming steps necessary for
good intentions to become actualised in effective behaviour.
6 We must look critically and with an open mind at
the tests and exams that our learners write, and answer
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Do my learners become infected with my personal
interest in music and my enthusiasm for
self-growth through the setting of increasingly
complex musical challenges?
Are my learners motivated to discover for themselves
and to find value in their engagement
with music?
Does the growing understanding of my learners
enable them to use music expressively?
Am I creating opportunities for meaningful interaction
with musical material and with other
learners, musicians and audiences, and encouraging
my learners when they create these opportunities
for themselves?
Are learners progressively mastering a wide
gamut of musical skills?
Can I describe my learners as musically literate?
Will my learners become — partly through my
efforts — independent judges of their own
thoughts and actions as musicians who are able
to improve themselves?
Do my activities as educator foster individuality,
exploration, spontaneity, originality, experimentation
and invention?
Do I allow concepts to mature in learners’ minds
until they become part of their (musical) awareness
and intuition?
Am I providing my learners with opportunities to
fully engage in and enjoy music making — opportunities
that will allow them to practise musical
skills and internalise relevant knowledge?
Do I effectively integrate the perceptual and the
conceptual in order to foster the interdependence
of thinking and listening?
Am I flexible and tolerant of — even interested
in! — the personalities and interests of my learners
(which may sharply differ from mine), and informed
about musical worlds unlike my own?
South African Music Teacher |144 | November 2006
very specifically the question: How do these activities
contribute to developing the musicianship of learners?
Educators need to be trained and allow themselves to be
trained! Strategies to ensure accountability should be implemented.
Sharing of ideas between colleagues can lead
to improvement and a sense of achievement, and should
be encouraged. We should, however not overemphasize
assessment to the detriment of our other important tasks
concerning the facilitation of learning.
the curriculum
A well-structured curriculum will provide answers about
what we should assess and indications of how to do this.
The curriculum entails all teaching and assessment activities
and is more than the syllabus, which is often prescribed
by schools, education departments or examining
bodies. Ensuring the development and implementation of
a good curriculum is the responsibility of every educator.
Assessment influences curriculum and vice versa. The influences
of traditional written assessment on the teaching
of music notation are not always salutary. Harry Torrence 7
writes in general about similar assessment techniques:
”Traditional paper-and-pencil tests can have a narrowing
effect on the curriculum, in terms of both curriculum content
and of teaching methods employed, such an approach
to learning can result in children coming to know certain
things without understanding them and without being
able to generalize from specific examples to similar problems
in different contexts.” This happens when learners are
coached in a “narrow range of test taking skills” instead of
learning a “broader range of higher-order competencies
and understandings.” We certainly have heard testimony
from our students to substantiate our impression that
Torrence’s observations are not imagined and applicable
to current music theory instruction in South Africa!
Changes in syllabuses and in assessment practices often
necessitate new forms of instruction. This means that
those who design syllabuses and methods of assessment
have very real and far-reaching responsibilities. The teaching
of music notation and music theory in South Africa
is often driven by the paradigms suggested by examining
bodies, and only seldom with positive results!
What should educators do? They should focus on the
process of assessment as well as on the products, 8 and
formulate to a sufficient level of detail outcomes related
to the development of musicianship. The achievement of
outcomes should be described clearly in terms of criteria.
These criteria should be negotiated with the learners and
form the basis for useful feedback.
assessment and instruction
It is clear that assessment should form an integral part of
good instruction, and that its results — indeed the whole
process — should help us to shape the learning process in
the best possible way to the real advantage of our learners
who are certainly hoping to become better musicians. This
means that assessment will become formative. Traditional
music theory exams are not examples of formative assessment
unless teachers make them so. Children do not receive
feedback on their exams, and the exam experience is

not used to further their learning, except (in most cases)
in order to make them write their theory exams better.
What a terrible anaemic version of what training in music
theory can be! Why should we be even a little surprised
that most learners hate music theory?
Can this sorry state be mended?
With effort, yes, and with sensible steps, which would include
(some of) the following.
•
•
•
•
•
•
•
Center efforts above all on the real learning needs of
pupils who must develop their musicianship above
the level of mediocrity, instead of on the exam results
and their influence on the teacher’s reputation.
Employ varied and flexible assessment strategies and
include the authentic musical activities of composing,
performing (also improvisation) and listening into
the strategies. Aim to cultivate an integrated understanding
of musical concepts.
Ensure that assessment is valid, reliable and fair. We
may have to ask our learners and colleagues their
opinions on this, since it is often hard to evaluate our
own actions, especially when they were ingrained
over many years.
Ensure that assessment is part of a positive learning
environment, and that it does not diminish other
well-intended efforts. Observation of the assessment
principles that we have identified will help to create
such an environment.
Include peer assessment and self-assessment as important
aspects of the learning experience. Both interaction
with peers and self-assessment lie at the
heart of a constructivist philosophy of education and
their benefits are manifold.
Allow yourself and your students to explore the grey
areas between ‘right’ and ‘wrong’ answers. Even in
music literacy and music theory the most interesting
discussions, and the most fruitful learning, are
initiated when we consider and implement alternatives
to assessment that can be done with the crosses
and slashes of a red pen. Usually these discussions
will promote higher-level cognition and motivate
learners. They can be fun!
Design and implement consistent and suitable strategies
that will ensure regular, timely and useful feedback
to learners. Feedback is most often best when it
is ipsative (self-referenced) and criterion-based rather
than normative (stated in terms of the achievements
of other learners).
In assessing music theory outcomes, educators should do
all they can to make sure that musical concepts are not
divorced from their aural and kinaesthetic contexts. We
should aim for holism and integration, even in assessment
and examinations. Still, we should not reflect so much that
we do not take action. We found descriptions and discussions
of very stimulating assessment techniques during
our research. We list some of them here, with references
for further study. Not all these techniques are new. Many
educators are surely already applying them.
When is assessment valid and reliable?
Validity and reliability are complex concepts.
Lambert & Lines (2000:7,9,11) summarised ideas
first published by Stobart & Gipps in 1997 in their
book Assessment: A Teacher’s Guide to the Issue in
order to define some of the terms.
A test’s degree of predictive validity indicates
the extent to which its results will forecast
subsequent performances.
Tests that are concurrently valid are independently
valid, and are accurate in measuring
the same aspects.
Construct validity refers to the degree to
which a test assesses those attributes it purports
to assess.
When an exam is content valid, it is successful
in testing the contents of a syllabus.
The concept of unitary validity is more recent
and involves the appropriate use of the results of
assessment.
Consequential validity is obtained, according
to Lambert & Lines (2000:132) when it can be
shown that assessment has positive impact on
student learning.
Reliability gives us an indication of how consistent
a test is. Test-retest reliability is determined
by repeating the test and comparing the marks
obtained. Mark-remark reliability compares the
agreement between assessors, and parallel forms
or split-half reliability indicates whether similar
tests produce similar marks. The reliability of
classroom assessment is sometimes described by
the term dependability.
When is assessment fair?
As educators we often wonder whether our assessment
is fair. How will we know if it is? Siebörger &
Macintosh (1998:13) summarised and adapted five
factors identified by Frith & Macintosh (1984).
Does the importance and length of the assessment
match the amount of work done?
Does the choice of assessment techniques match
the way in which learners learned?
Do all learners understand the questions and instructions?
Are conditions appropriate, with enough time, and
access to resources?
Is marking as objective as possible, and should
learners know how they will be assessed?
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

oral assessments
Music theory teachers are used to asking questions in class
and to receiving verbal feedback as part of formative assessment.
Verbal feedback can become summative assessment:
learners can, for example, present a lecture recital
of an original composition using the concepts and terms
that they have learnt. The verbal communication skills of
musicians are often needed when we teach, or even in social
conversation. Interviews can be considered as a type
of oral assessment, and offer many advantages to the music
educator, as noted by Mitchell Robinson. 9 Other opportunities
for oral assessment include the observation of
contributions to class discussions, learners’ responses in
class, 10 role play and debate. 11
projects and reports
A project consists of several authentic musical activities
such as simple compositions, organising and presenting
performances and the teaching of music rudiments to fellow
learners, or even to younger learners. When learners
have to compile a report on their project (which may even
be a documentary film made on cellular phones!) it helps
them to reflect on their own learning. It will be wise to ask
experts to judge learners’ live presentations of projects and
to give feedback during informal conversations. The more
authentic the assessment strategies become, the closer
they will come to being task-based assessments, the importance
of which cannot be overestimated.
essays
Although music literacy is mainly about the actions of students,
the writing of essays — using good examples from
journals and magazines as guides — can promote reflection.
The skills of essay writing become gradually more important
as our learners progress in their studies of music
theory. If the topics interest learners and feedback is effective,
learners will develop critical thinking and communication
skills. Essays may also be presented in the form of
reviews of textbooks, or of recordings and performances.
These reviews may be authentic assessments, since most
musicians are required at times to voice opinions about
books, recordings or performances using the vocabulary
of the discipline.
portfolios
Learners can compile material documenting the processes
and products of their own learning and assessment
into a portfolio according to the teacher’s guidelines and
informed by learners’ own choices. The many advantages
of portfolio assessment have lead to its increasing prominence
in all fields of education. Not only is this an example
of authentic assessment: in helping our students to learn
how to compile and discuss good portfolios, we are also
preparing them to be independent life-long learners, to
apply for jobs, and to establish their reputations as musicians.
One can imagine how a compilation of different
meaningful and interesting projects in a portfolio lasting
over a year or more will change learners’ attitudes towards
their music theory studies, help them to gain confidence
and to remain motivated.
South African Music Teacher |144 | November 2006
It is clear to anybody who has been involved in the nuts
and bolts of teaching that the process of learning will never
be perfect. It is messy, because it is human. Constant
calls from utopia to involve every educator in some orchestrated
strategy to make the real world the ideal world,
bring but few improvements and many pains in the neck.
Maybe the road ahead is best travelled by taking small
reflecting steps each time we set a test or exam paper, or
study a syllabus, or register and prepare a learner for those
theory exams.
BIBLIOGRPAHY AND FURTHER READING
DONALD, D., Lazarus, S., Lolwana, P. 2004. Educational
Psychology in Social Context. 2nd ed. Cape Town:
Oxford University Press.
ELLIOTT, D.J. 1995. Music Matters: a New Philosophy of
Music Education. New York: Oxford University Press.
ELLIOTT, D.J. 2002. The Praxial Philosophy of Music
Matters. The South African Music Teacher, 139 (1): 16-
19, January.
FRITH, D.S., Macintosh, H.G. 1984. A Teacher’s Guide to
Assessment. Cheltenham: Stanley Thornes.
LAMBERT, D., Lines, D. 2000. Understanding Assessment:
Purposes, Perceptions, Practice. London: Routledge
Falmer.
PHYE, G.D. 1997. Epilogue: classroom learning, looking
ahead. (In Phye, G.D. ed. Handbook of Academic
learning: Construction of Knowledge. San Diego:
Academic Press.)
ROBINSON, M. 1995. Alternative Assessment Techniques
for Teachers. Music Educators Journal, 81:28-34,
March.
SIEBöRGER, R., Macintosh, H. 1998. Transforming
Assessment: A Guide for South African Teachers.
Kenwyn: Juta.
STAUFFER, S.L. 1999. Beginning Assessment in
Elementary General Music. Music Educators Journal,
86:25-30, September.
TORRENCE, H. ed. 1995. Evaluating Authentic
Assessment: Problems and Possibilities in New
Approaches to Assessment. Buckingham: Open
University Press.
1.
2.
3.
4.
5.
6.
Jacomine Pretorius is a postgraduate student
at the Potchefstroom Campus of the North-
West University. She was a teaching assisstant
at the university for four years, and now
teaches privately.
Although our research focused on music literacy, many of the findings apply
to the teaching of music theory, and to most other aspects of music education.
We consider the material covered up to Grade IV UNISA theory, and
parts of that in Grade V, as aspects of music literacy. For us music literacy
definitely includes rudimentary composition, performance and listening
skills.
Elliott 2002:18
Stauffer 1999:30
Phye 1997:595
Donald et al. 2004:100
Torrence 1995:xi
7.
8.
9.
10.
11.
Torrence 1995:2, 145
Lambert & Lines 2000:130
Robinson, 1995
Lambert& Lines 2000:149
Siebörger & Macintosh 1998:47

w a a r i s d i e m u s i e k i n d i e
t e o r i e ?
O n s h e t n u w e i d e e s n o d i g o m m u s i e k t e r u g
t e b r i n g i n m u s i e k t e o r i e . ‘ n G r o n d i g e
b e s k o u i n g v a n m u s i e k t e o r i e - o n d e r r i g e n
g e p a a r d g a a n d e a a n p a s s i n g s b e h o o r t ‘ n g r o t e r
b e w u s s y n t e k w e e k v a n m u s i e k a s k u n s .
Hierdie kort bespreking handel oor die onderrig van
musiekteorie, ‘n onderwerp wat gewoonlik met heelwat
passie bespreek word wanneer ‘n klompie teorieonderwysers
bymekaar is. Dan word probleme met die
leerders, die sillabus, die eksamens, ensovoorts gewoonlik
betrek sonder dat die aard en funksie van die musiekteorie
as dissipline in ag geneem word.
‘n Grondige kritiese ondersoek na die metodes en
doelstellings van die musiekteorie is lankal nodig, dit wil
sê een met heelwat meer diepgang as hierdie kort bydrae.
By ‘kritiese ondersoek’ bedoel ek dat sowel die positiewe
as negatiewe aspekte van die manier waarop musiekteorie
tans onderrig word, verreken behoort te word. Hiermee
wil ek dus nie die voordele van gespesialiseerde strategieë
wat aan musiekteorie as dissipline die status gegee het wat
dit verdien, prysgee nie. Ek pleit egter vir ‘n sterker klem
op die artistieke musikale aspek van die musiekteorie wat
hopelik sal vergoed vir die negatiewe effek van meganiese
tegniese beheersing.
Tans lyk dit asof meeste leerders nie die nut van
musiekteorie kan insien nie en dit net as ‘n straf beskou.
Redes vir hierdie negatiewe siening kan wees dat kennis
en vaardighede wat met die teorie te make het nie met die
musiek gekoppel word nie en dat musiekteorie net met
meganiese drilwerk ge-assosieer word. Die probleem is
egter dat dit feitlik onmoontlik is om musiekteorie baas
te raak sonder ‘n aansienlike hoeveelheid drilwerk. En
drilwerk bevorder nie artistieke en kreatiewe doelwitte
nie. Len Holdstock, ‘n Suid-Afrikaanse sielkundige, skryf
in hierdie verband dat
the emphasis on rote learning and rigid logic in our
schools and universities undoubtedly does great damage
to the creative ability of many, if not most young people.
… Studies indicate that a child’s creativity plummets 90
percent between the ages five and seven when schooling
is introduced. It is estimated that by the time they are
forty most adults are about 2 percent as creative as they
were at five. 1
Bertha Spies
Musiekteorie kan met grammatika in taal vergelyk word,
eerstens omdat musiekteorie te make het met die manier
waarop die musiek ‘aanmekaar gesit’ is en, tweedens, omdat
klein musikale eenhede met leksikale eenhede vergelyk kan
word. 2 As leerders die letters van die alfabet in die korrekte
volgorde kan opsê, beteken dit egter nog nie dat hulle regtig
met taal besig is nie. Dit is eers wanneer gewerk word
met patrone van letters wat anders gerangskik is as in die
alfabet, dat taalvaardigheid ter sprake kom. Indien hierdie
situasie na musiek ‘getransponeer’ word, kan ‘n mens sê
dat toonlere nog nie regtig musiek is nie. Waarom heg ons
dan soveel waarde aan toonlere? As die identifisering van
betekenisvolle eenhede in ‘n komposisie die eerste stap is
in die proses om sin te maak van die musiek, 3 moet leerders
nie eerder so vroeg as moontlik leer om musikale patrone
te skryf waar toonhoogte en ritme van die staanspoor af
op kreatiewe wyse gekombineer kan word nie?
Meer as ‘n eeu gelede het die Duitse opvoedkundige en
dirigent, Hermann Kretzschmar gekla oor die verouderde
onderrigmetodes in harmonie en kontrapunt en dit reguit
gestel dat musiekteorie daardie musiekvak is wat die
dringendste hervorm moet word omdat dit so eksklusief
gerig is op die harmonie. Hy betreur die feit dat musiekteorie
net by geskrewe oefeninge bly, dat studente nie by die
klavier werk nie, en dat oefeninge net in halfnote gedoen
word. Volgens Kretzschmar is musiekteorie onpopulêr en
word dit vermy deur onderwysers wat praktiese onderrig
gee. Die beste geleenthede om betekenisvolle verbande
tussen teorie en praktyk te trek, dit is in die praktiese lesse,
gaan onbenut verby. 4
Waarom moet ons in die een en twintigste eeu nog na
musiekteksture kyk soos wat Jean-Philippe Rameau dit
in die agtiende eeu gedoen het? Daarmee wil ek niks
wegneem van die belangrikheid van sy bydrae tot die
sistematisering van die harmonie as vakgebied nie. Thomas
Christensen, die president van die Amerikaanse Society
for Music Theory (1999-2001), skryf egter dat Rameau se
status as die belangrikste figuur in die musiekteorie na die
middeleeue tot vandag toe nog nie bevraagteken is nie. 5
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

Dit is juis hier waar die probleem lê, naamlik dat Rameau
se benadering tot die musiekteorie op die metodes van die
natuurwetenskappe gebaseer is, ‘n strategie wat nie die
artistieke potensiaal van die dissipline verreken nie.
In die voorwoord tot sy Traité de l’harmonie (1722), skryf
Rameau soos volg:
Music is a science which should have definite rules; these
rules should be drawn from an evident principle; and
this principle cannot really be known to us without the
aid of mathematics. Notwithstanding all the experience
I may have acquired in music from being associated
with it for so long, I must confess that only with the
aid of mathematics did my ideas become clear and did
light replace a certain obscurity of which I was unaware
before. 6
Volgens die gerespekteerde musiekhistorikus, Paul
Henry Lang, het die koppeling van die musiek met die
natuurwetenskappe inderwaarheid die ontwikkeling
daarvan as ‘n kuns gekortwiek. Hy verwys na skrywers
van die laat-Barok, waaronder ook heelparty praktiese
musici getel het, wat talle rasionalistiese opsommings en
kodifikasies die lig laat sien het in ‘n poging om musiek op
‘n hoër intellektuele vlak saam met die natuurwetenskappe
te plaas. Volgens Lang was die gevolg ‘n verstening van
die ‘elastic spirit of living art into inexorable rules and
definitions’ en voeg by dat dit jammer is dat hierdie tradisie
deur die eeue op onkritiese wyse voortgesit is. 7
Soos die titel van Rameau se verhandeling aandui, is sy
teorie gerig op die harmonie, meer spesifiek was sy doelwit
‘to validate chords as primary musical constructs’. Sy bydrae
tot die harmonie het onder andere die sistematisering van
drieklanke, tertskonstruksie, omkerings van akkoorde,
grondnote, die beweging van grondnote (fundamental
bass) en kadense betrek. 8 Om die vertikale aard van die
musiektekstuur as die primêre fokus in die musiekteorie
te beskou, is myns insiens ‘n reduksionistiese siening. Die
temporele verloop van musiek en alles wat dit behels (soos
motiewe en temas) word effektief op die kantlyn geskuif.
Dan is sake wat wesenlik is tot die aard van musiek en
wat nie met toonhoogte verband hou nie, soos ritme,
toonkleur, dinamiek, register, digtheid, artikulasie nog nie
eers verreken nie. Hiermee probeer ek nie te kenne gee dat
Rameau se teorie verkeerd was nie. Maar om leerders vir
soveel jare te dril om in terme van vertikale klankstrukture
te dink, help nie om musikaliteit en kreatiwiteit te
ontwikkel nie.
Hoe kan musiekteorie dan leerders se musikaliteit en
kreatiwiteit ontwikkel? Weens beperkte ruimte word die
volgende voorstelle net kortliks genoem.
• Skep van die heel begin af ‘n klankbeeld van ‘n
teoretiese konsep deur dit by bekendstelling voor te
sing (indien van toepassing) en op die klavier voor
te speel. Leerders moet van die begin af verstaan dat
teoretiese konsepte in die eerste plek nie wiskundige
konsepte nie maar musikale konsepte is.
South African Music Teacher |144 | November 2006
•
•
•
•
•
•
•
•
•
•
As leerders teoretiese konsepte van die begin af by
die klavier leer en self speel, sal hulle besef dat F
en F# byvoorbeeld twee verskillende note en twee
verskillende klawers is.
Die ideaal is dat teorie tydens die praktiese musiekles
geleer word. Teoretiese konsepte word dan aan die
hand van musiek wat leerders self speel, geïllustreer
en self gespeel. Populêre musiek kan ook betrek word.
Persoonlike ondervinding het my geleer dat leerders
musiekteorie geniet as dit vanuit die musiek self
geleer word want dan maak dit vir hulle musikaal sin.
Om teoretiese konsepte te koppel met musiek wat vir
leerders ‘n werklikheid is, sal dalk help om leerders se
negatiewe houding teenoor teorie te temper.
‘Werklike musiek’ kom voor in ‘werklike boeke’.
Fotostate behoort net in noodgevalle gebruik te word
omdat mense van hulle inkomste beroof word as boeke
nie gekoop word nie. As sportouers vir hulle kinders
die ‘regte toerusting’ kan koop, kan musiekouers dit
ook doen.
Balanseer drilwerk met aktiwiteite wat op die
ontwikkeling van musikaliteit en kreatiwiteit gerig
is. ‘n Alleenstaande noot, interval of akkoord is nog
nie regtig musiek nie. So ook nie ‘n toonleer in ewe
lang heelnote buite ‘n musikale konteks nie. Die feit
dat eksterne eksamens hierdie konsepte so hanteer,
beteken nie dat teorie-onderwysers hulle onderrig
daarop moet baseer nie. Gee van die staanspoor af
vir leerders opdragte wat hulle kreatiwiteit ontwikkel,
soos byvoorbeeld om ‘n ‘liedjie te skryf ’.
Benut geleenthede waar insig in musiekstrukture die
leerder se spel en interpretasie kan verbeter. Kennis
van kadense kan byvoorbeeld help met frasering.
Die beginsel van ‘wat hoort bymekaar’ verhoog ook
insig in die fatsoenering van die musiek. Melodiese
nootpatrone wat musikale eenhede vorm, kan logiese
melodiese fatsoenering bevorder.
Melodiese nootpatrone is aanduiders vir akkoordkeuse
wat nie alleenstaande akkoorde nie maar die beweging
van een akkoord na ‘n volgende suggereer. Ek het
vroeër aangedui hoe melodiese nootpatrone reeds in
musiek vir beginners basiese harmoniese progressies
kan voorstel. 9
Probeer om ander konsepte as toonhoogte te betrek
want tempo, dinamiek, artikulasie, register, digtheid,
ensovoorts is almal faktore wat saamwerk om van die
musikale voordrag ‘n artistieke gebeurtenis te maak.
Net omdat toonhoogte die hooffokus in die sillabus
van eksterne musiekeksamens is, beteken nie dat
ander musikale aspekte onbelangrik is nie.
Terme in sogenaamde ‘vreemde tale’ sal vir die leerder
‘n werklikheid word as dit gekoppel word met die
musiek wat die leerder self speel.
Die memorisering van lyste harmonie-reëls bevorder
gladnie musikale insig en kreatiwiteit nie.
Net soos wat mense in ander professies voortdurend
vir opknappingskursusse gaan om op hoogte te bly
van die nuutste ontwikkelings op hulle onderskeie
vakgebiede, net so moet musiekonderwysers
ook verantwoordelikheid aanvaar vir hulle eie

ontwikkeling. ‘n Mens hou nooit op om te leer nie.
Begroot jaarliks vir die bywoning van kongresse,
kursusse of seminare, asook vir die aankoop van
nuwe boeke (soos wat ander professies ook toerusting
aankoop). Onderwysers wat nie toegang tot biblioteke
of musiekboekwinkels het nie, kan sulke boeke op die
internet bestel, byvoorbeeld by http://www.amazon.
com. Die ongelooflike moontlikhede van die internet
is egter ‘n onderwerp vir ‘n ander artikel.
As ‘n mens krities lees en krities luister, stimuleer dit jou
eie ontwikkeling en help musiekteoriese kennis ‘n mens
om die musiek beter te verstaan en dit meer te geniet. As
teorie-onderwysers met nuwe idees kom om die musiek
in die musiekteorie terug te bring, sal leerders verstaan
waarom hulle dit moet leer en kan die studie vir hulle ‘n
interessante en opwindende belewenis word.
BIBLIOGRAFIE
AGAWU, K. 1999. The Challenge of Semiotics. In
Rethinking Music, Cook, N. & Everist, M. (eds.),
Oxford: Oxford University Press, pp. 138-160.
CHRISTENSEN, T. 1993. Rameau and Musical Thought in
the Enlightenment. Cambridge: Cambridge University
Press.
HOLDSTOCK, L. 1987. Education for a New Nation.
Riverclub : South Africa Transpersonal Association.
KRETzSCHMAR, H. 1903. Musikalische zeitfragen:
zehn Vorträge. Leipzig: Peters.
LANG, P. H. 1941. Music in Western Civilization. London:
Dent.
LIDOV, D. 1994. Music. In Encyclopedic Dictionary of
Semiotics. Tweede uitgawe. Sebeok, T. A. (ed.), vol. 1,
579-587. Berlin: Mouton de Gruyter.
RAMEAU, J-P. 1971. Treatise on Harmony (1722). Transl.
P. Gossett. New York: Dover Publications.
SPIES, B. M. 1993. Reduksietegnieke in die Onderrig van
Harmonie. Musicus 21(2): 56-63.
1.
2.
3.
4.
5.
1987: 76-77.
Lidov 1994: 579-580.
Agawu 1999: 149.
1903: 66-67.
1993: 1.
Bertha Spies was tot haar aftrede in 2003
Medeprofessor in Musiekteorie aan die
destydse PU vir CHO. Tans is sy Navorsings-
genoot by die Noordwes-Universiteit.
6.
7.
8.
9.
1971: xxxv.
1941: 59, 442.
Christensen 1993: 28, 43.
Spies 1993.
The financial contributions and logistic support
of the following institutions are gratefully
acknowledged.
School of Music and Conservatory,
North-West University (Potchefstroom Campus)
Samro Endowment for the National Arts
Unisa Music Foundation
n e w s ~ n u u s
SASMT AGM
The 84th Annual General Meeting of the South African
Society of Music Teachers took place at UNISA on
17 June this year. It was attended by nine members of
the society, most of them members of council.
Because this is the smaller AGM (the larger one coincides
every two years with the conference), no motions
were passed and those present mainly received
financial and other reports. Decisions regarding the
website were taken: centres and office bearers will
be listed on the websites as well as more information
concerning the listings of all members.
The recommended minimum fee for private tuition
was not changed. The recruitment and appointment
of a new Executive Officer was also discussed and
centres have already received notifications as well as
the necessary information.
Benevolent Fund
The current chairperson of the Benevolent Fund is Ms
Diane Heller. Chairpersons or secretaries of centres
can apply on behalf of deserving members.
ISME
The 27th Biennial Conference of the International
Society for Music Education (ISME 2006) was held in
Kuala Lumpur, Malaysia from 16-21 July. The six day
event at the world-class Kuala Lumpur Convention
Centre was attended by delegates from around the
world. The venue is equipped with the state-of-theart
wireless telecommunications and digital audiovisual
facilities. The event was hosted by one of Malaysia’s
largest institutions of higher learning, Universiti
Teknologi MARA; as well as the Malaysian Association
for Music Education (ISME’s Malaysian chapter), the
Ministry of Culture, Arts and Heritage, the Ministry of
Education and the Ministry of Higher Education. The
next ISME World Conference will be held in Bologna,
Italy, from 20 to 25 July 2008.
http://www.isme.org
Music Giveaway # 143 — Winners
Val Heard (Camps Bay)
C Coetzee (Durbanville)
MS Oersen (Kuilsrivier)
Sheila Horwill (Hilton)
Julie Young (Scottsville)
Estelle Stauffer (Klerksdorp)
Reader’s Survey — Pencil Cases
Estelle Stauffer and nineteen of her pupils beat everyone
to it. Congratulations and thank you! Thank you
very much to every one of the teachers and learners
who also responded.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

R e f l e c t i o n o n t h e a s s e s s m e n t o f j a z z i m p r o v i s a t i o n s
b e c o m e s d i f f i c u l t w h e n w e a r e t o o s t r o n g l y u n d e r t h e
s p e l l o f t h e w o r d i m p r o v i s a t i o n . P e r h a p s g r a d i n g a n
e x a m i n a t i o n i n ‘ m a k i n g m u s i c u p o n t h e s p o t ’ s e e m s
q u e s t i o n a b l e t o t h o s e n o t f a m i l i a r w i t h j a z z s t u d i e s .
I t c a n b e d o n e .
Mike Rossi
During a jazz exam convincing musical statements have
to adhere to the basics of an accepted performance
practice. Not unlike those involved in Western classical
performance exams, jazz examiners can also follow two
basic ideas concerning competent musicianship: technique
and artistry. Was the performance technically
correct with sufficient attention to pitch, intonation, dynamics,
time, rhythm, finger facility or evenness, articulation
and tone? As for artistry — was the performance
played correctly in terms of the conventions of improvisation,
style and interpretation, and presentation?
But maybe these two important sounding words (technique
and artistry) do not provide enough useful guidelines
for fair and valid assessment, especially for those
who are not experienced examiners. I would therefore
like to present an overview of a system that has been
used by numerous jazz examination panels at the South
African College of Music (UCT) for the past five years
and which has been experienced positively by students
and teachers alike. The system consists of carefully chosen
syllabuses, specific written feedback, guidelines
and mark sheets.
syllabuses
To avoid unnecessary exam pressure, teachers can at
the start of each term or semester announce in writing
what will be requested and expected of students when
playing the exam. Each year slight changes and revisions
are made to the prescribed material based on the
level of student musicianship, teaching style of a specific
teacher and changes in repertoire and scheduling.
South African Music Teacher |144 | November 2006
Course outlines can be altered as long as the necessary
material of an appropriate standard is covered by the
teacher before the exam. I encourage all teachers to select
new repertoire often, possibly from lists supplied by
the convenor. To avoid teacher, student and class boredom
— keep it fresh! For a ten to fifteen minute exam,
three pieces are randomly requested from the exam
repertoire list by the examining panel. Technical material
should be prepared in all keys and the melody and
chord changes of each piece must be memorized.
Jazz Improvisation 1 — mid term examination
•
•
•
•
•
Major scales starting on the 2nd, 5th and root
The lydian scale
Pentatonic scales (major and minor), blues scales
8 note dominant and major bebop scales
Diatonic one and two bar phrases
Jazz Improvisation 1 – end of year
•
•
•
•
Lydian & lydian dominant scales
Harmonic minor scale: modes 2 and 5
Dominant bebop scale from the root, third, fifth
and seventh
Diatonic one and two bar phrases with resolutions
(ii-7 V7 I)
Examination repertoire for Jazz Improvisation 1
Afternoon in Paris, All of Me, Autumn Leaves, Blue Bossa,
Cantaloupe Island, Doxy, Footprints, Ladybird, Maiden
Voyage, Misty, Mood Indigo, Perdido, Satin Doll, Silver’s
Serenade, Sugar

Jazz Improvisation 2
•
•
•
•
•
Locrian & locrian #2 scales
Diminished scales —whole/half (mode 1), half/
whole (mode 2)
Whole-tone scales
Diminished whole-tone: mode 7 of the melodic
minor scale
Multi-coloured one or two bar phrases, and with
resolutions (ii-7 V7 I)
Examination repertoire for Jazz Improvisation 2
All Blues, All the Things You Are, A Night in Tunisia, Body
and Soul, Confirmation, Four, I’ll Remember April, In a Sentimental
Mood, Jordu, Oleo, On Green Dolphin Street, Ornithology,
Peace, Star Eyes, What is This Thing Called Love?
feedback
During each exam the teacher is encouraged to make
written comments to be returned to the students at the
conclusion of the marking process or at the first class of
the next semester. Students enjoy receiving comments
or feedback in writing as encouragement to progress to
the next musical level. Feedback helps them to understand
what needs to be addressed and to comprehend
the given mark. Comments from past panels have included
the following.
“Good time and feel.” This means that the assigned
work was played in relation to the ground beat/pulse.
To achieve this, students have generally practised the
material with metronome or backing track and have
listened to the jazz masters.
“Very poor time” means that the melody, improvisation,
lines, scales or technical material were not played in
time or in relation to the ground beat/pulse. This is generally
an indication that the student does not listen to
the jazz masters or doesn’t practise or practises without
a metronome or backing track.
“Good, flowing phrases” generally translates to: ‘it
swings’ or ‘it is in the groove’. This is a clear indication
that the student has listened closely to the jazz masters,
has practised the assigned work, and has a good internalized
metronome and a developed sense of phrasing
in the jazz style.
“Stiff phrases.” The student plays the required material
but doesn’t swing; usually an indication that the student
practises but doesn’t listen to the jazz masters or
perhaps listens primarily to Pop, Jazz-Rock and/or Fusion.
“Head played well.” It is a musical joy to hear a melody
(head) performed well. Experience has taught us that
even well prepared students do not give the melody
(head) the respect it richly deserves. I can’t stress enough
the importance of having students learn and play the
melody well from memory.
“Learning scales, phrases or lines and technical material
would improve your ability to play ideas convincingly
and help you develop a jazz vocabulary and language.”
An example of an
examination mark sheet
This is an indication that the student generally is not
practising the assigned material.
“8th-note lines are swinging.” Swinging eighth note lines
are a central aspect of the jazz language. Like the importance
of playing a melody well, 8th note lines played
with good time and feel are found in all great solos by
the jazz masters.
guidelines and mark sheets
Guidelines as recommended by the International Association
for Jazz Education (IAJE)
Improvisation: Evaluation is based on the soloist’s
awareness of stylistic and harmonic content and the
ability to communicate ideas to make creative, personal
and musical statements.
Style/interpretation: Evaluation is based on the soloist’s
and the group’s awareness of a stylistically correct
performance and interpretation of the chosen
composition.
Presentation: Evaluation is based on the appropriateness
of the music in relation to the group’s or the
soloist’s abilities and how the music is presented.
Musicality: Evaluation is based on emotive communication
— the extent to which technique is used to create a
performance that is expressive and meaningful for performers
and the audience.
Time and rhythm: Evaluation is based on the performance
of the tempo (beat) and the figures (rhythms) relative
to one another and to the rhythmic concept of the
compositions.
Ensemble: Evaluation is based on the ability of the
group to consistently perform the music in a fundamentally
correct manner concerning aspects like phrasing,
accents, dynamics and balance.
Intonation: Evaluation is based on the ability to perform
in tune, within and between sections.
Technique/diction/articulation: Evaluation is based on
the ability of the soloist and group to perform clean,
clear and articulate musical phrases.
continued on page 45...
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

This is a beginners’ tutor,
and I can truly say it is the
most enjoyable tutor for
violin that has ever come
into my hands! The copy
which I have for review is a Flemish edition, which makes
it very easy to understand as Flemish is so close to Afrikaans.
It is also published in Dutch, English, German and
French. (The ISBN number of the English edition is 90-
431-2439-70). A separate piano accompaniment book is
available (ISBN 90-431-2373-0), also including a CD of
performances on a grand piano.
The tutor includes, amongst other valuable material,
suggestions and exercises for learning to play pizzicato,
the two first finger patterns, fluent bowing, change
of strings, basic scales, harmonics, and simple double
stops. There is much emphasis on the development of
good intonation, aided by ‘echo’ exercises. Many of the
exercises have two tracks on the CD: the first providing
the melody, and the second only accompaniment.
Understanding of the instructions is supported by the
clever use of witty illustrations. A fairly unique feature
for a beginner’s book is the inclusion of some improvisation
exercises. I tried these with most of my pupils, and
was quite amazed to see how many of them battled
with this activity!
The general rate of progress is tuned to the development
of most young pupils. Open strings are used
up to track 29 on the first CD, so that by this stage the
pupil should have a good grasp of rhythm, including
crotchets, quavers, and their rests. When the first finger
is used there are listening exercises to make the pupil
very aware of the sound. The same method is followed
South African Music Teacher |144 | November 2006
r e v i e w s ~ r e s e n s i e s
Meuris, W., Van Elst, J., Van Rompaey, G. 2005. Speel Viool! Vioolmetode 1.
Heerenveen: de Haske (ISBN 90-431-2326-9) http://www.dehaske.com
Estelle Stauffer
with the other fingers. The progressive introduction
of rhythms and new notes is very logically planned.
Note values in Book 1 include semiquavers and dotted
crotchets, as well as compound duple time. I tried the
exercises with pupils who had progressed far beyond
the scope of this book, and yet they found the exercises
most enjoyable, and sometimes not even very easy!
They all loved playing from this book, and were eager
to know when Book 2 would be available. So I asked,
and the compilers replied that the Dutch edition will be
available as from November. The other language editions
will follow soon after.
The rhythm clapping exercises are very useful, especially
now that most South African primary schools no
longer have class music as part of the curriculum. Most
of our individual lessons are not long enough to include
all these extras, but in Speel Viool they are a natural part
of the process.
Useful information about the construction of the
violin, as well as the lives of a few famous violinists is
included. At the back of the book is a crossword puzzle
which acts as a little ‘test’ to see whether the information
in the book was remembered.
I will definitely use this book if I have new beginners,
as I find it superior to the other books which I have used
thus far. From the same publishers two other books,
Famous Songs and Classical Pieces will appear later in the
year. These can be used concurrently with the tutor.
Estelle Stauffer taught violin at an extra-mural music centre.
Since retiring she has been teaching privately at her home in
Klerksdorp. She has been a member of the standing committee of
the SASMT for the past four years.
Murray, P. 2001. Essential Bass Technique. 2nd edition. Milwaukee, WI: Hal
Leonard Corporation. ISBN 0-634-03267-4
http://www.halleonard.com http://thermidormusic.com
Marc Duby
The Canadian bassist Peter Murray deals with the elements of technique for players of
the bass guitar, in this short (48 pages) but comprehensive introduction to the ergonomics
of musicianship on this instrument. Illustrated with a wealth of photographs, which
provide practical examples of what he regards as good and bad technique, Murray systematically
examines such topics as practising, posture, correct left and right hand positions,
string muting, shifting between positions, and a range of ‘micro-elements’ of playing
ergonomics that have bearing on factors like tone production and physical endurance.
Murray’s approach is practical, explaining the reasons why he classifies some techniques as useful or otherwise,
and his over-arching concern throughout the discussion is to encourage players to reflect critically on the wasted

energy that results from uneconomic physical action.
In discussing the basic principles of technique, Murray
emphasizes economy of motion as follows (p.6):
Great musicians, on any instrument, tend to make
their playing look effortless. They can play incredibly
complex music and not break a sweat, and their hands
seem to glide across the fingerboard with ease. It looks
easy because they’re only moving as much as they have
to—which is usually not a lot.
Drawing on research in biomechanics and kinesiology,
Murray explains the basic principles of natural movement
and strength as they relate to tone quality and
production. Importantly, he highlights the positive effects
of correct technique as a measure for preventing
injuries (p.7):
When you develop technique with ‘natural movement’
in mind, you’re working efficiently and reducing the
likelihood of pain and injury. It’s unnatural finger and
hand movements that lead to cumulative trauma disorders
such as tendonitis and carpal tunnel syndrome.
He suggests that the best way to achieve endurance and
strength on the instrument is not by hand exercises or
weight training (which may develop muscular strength
in inappropriate areas), but through applying his ideas
to practising, in a reflexive and self-aware manner. To facilitate
this process, Murray makes constructive suggestions
that are relevant not only for beginners but also
for intermediate and advanced players.
For Murray, the right mental attitude, paying attention
to the quality of what one is practising, and the
use of tools like metronomes and timers, are all factors
contributing to improving one’s technique, which
he deals with in a common sense, practical and sometimes
humorous fashion. Throughout the book, Murray
This beautiful book, illustrated
in colour, contains
little ‘gems’ of knowledge
about the history of the
violin and about a few
composers. It is the first
of three volumes and includes
a CD with accompaniments for many of the pieces,
and also some compositions by famous composers.
Most of the exercises are presented as duets with an
easy part which becomes progressively more challenging,
and a more difficult part for the teacher or a second
pupil. The CD first plays the easy part, then the more difficult
part, and then the complete piece, thus giving the
pupil the possibility to play along three times in a row.
As far as I could ascertain, Book 2 is not accompanied by
a CD. The CD for Book 1 has no ‘count-in’ clicks or beats
demonstrates concisely and clearly the benefits to
musicality, obtained by ‘stepping back’ from one’s ingrained
habits to consider them critically. This requires
a certain amount of self-discipline and introspection on
the musician’s part. There may be a need to check one’s
progress with a teacher from time to time, although
studying the illustrations provided will go a long way to
identifying obvious technical and ergonomic problems.
Consistent with his focus on the technical elements of
the bass guitar, there are few examples of musical exercises
per se. The quasi-chromatic exercise (p.47), which
Murray suggests as a point of departure for the player to
cross-check such factors as finger spacing, fingerboard
contact, muting, finger distance and pressure, is provided
in both musical notation and tablature.
In conclusion, I would thoroughly recommend this
book as addressing central issues of playing ergonomics
for the bass guitar in a reasoned and methodical manner.
Not being designed for academics, however, the
bibliographical information is rather sketchy, and if it
included a DVD demonstrating the techniques, it would
be a formidable teaching and learning tool for players
at whatever level of accomplishment. These are minor
criticisms of what I regard as a very good method book.
Murray also thoughtfully provides links to some useful
websites for bassists, which similarly discuss technical
aspects of the instrument.
Marc Duby’s career as bass-player, composer, and music educator
of some thirty years experience includes performances locally
and abroad (UK, France, India, and the Arabian Gulf) in genres
ranging from cabaret to Western art music and free jazz. He is
currently Head of Department of the School of Music at Tshwane
University of Technology. e-mail: dubym@tut.ac.za
Dartsh, M. 2004. Der Geigenkasten: Materialien für den Violinunterricht. Heft 1.
Wiesbaden: Breitkopf & Haertel. (Edition Breitkopf 8771). ISMN 004 18186 7
Estelle Stauffer
— the pieces start as soon as the ‘play’ button is pressed.
One must thus be absolutely ready to start or have the
teacher operate the CD player.
The book won the German Music Edition Award
2005 in the category ‘Teaching Methods for Children
and Young Adults’. I quote the following from a letter
written by the publisher:
The Geigenkasten is a new supplement to every teaching
situation containing a long list of songs, numerous
exercises and a CD. The Geigenkasten is organized according
to themes containing more than 80 songs and
pieces, which are almost always in two parts. They are
underlaid by texts, which stimulate singing along. The
Geigenkasten contains pieces for every situation. This
guide is appropriate for children from the first violin
class for individuals as well as for groups. The edition
0 Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

contains along with comments intended for the teacher
and a relevant list of songs, a CD with tuning notes,
play-along pieces and some specially enriching insights
into violin literature.
I tried this book with my pupils. The more advanced
pupils enjoyed playing along very much, but several of
the younger ones found it rather difficult. However, they
loved the appearance of the book and the beautiful illustrations.
I would personally use this book as a supplementary
tutor for younger pupils, as the progress, in my
opinion, is too quick for most youngsters. It would be
more suitable for older beginners, or possibly for pupils
who already play a second instrument and thus have
more background knowledge of music. All the pupils
loved the German words accompanying the pieces — I
sang to them and they loved the way the words fitted
the note values so well.
This book presumes (correctly from the German
writer’s perspective) that children studying violin will
This book contains some
interesting ideas but assumes
that the reader
has a good knowledge of
music notation. It would
be quite useful to someone
who has been playing
the guitar for a while to
see what the Alexander Technique (which is quite well
known in some other disciplines) is all about with regard
to guitar playing. A classical guitarist who has generally
been taught to sit correctly and to hold the guitar
correctly to maximise movement and control, and use a
foot stool or support for the guitar, will find that the basic
techniques are no different. The author advocates a
relaxed ‘loose’ approach: lying down and stretching the
spine or walking about and swaying the arms. Relax and
act natural is the message.
In order to understand the book, one would need to
have had a good education. Ideal readers will be tertiary
level students — who have previously learnt music
and who seem to know everything — or adults, who
have had previous musical experience and who would
(possibly) understand the English and the music notation
used. It was interesting to read explanations and
descriptions of some of the guitar terms like rasgueado
and tremelo — but again a good knowledge of music
would be necessary to understand these. I suggest
that this manual might also appeal to a teacher who is
having trouble getting a pupil who might have been
taught incorrectly, to hold the guitar in a manner that is
both comfortable and makes for better technique, or to
South African Music Teacher |144 | November 2006
have certain basic music skills. In my opinion this can be
a problem, since children in South Africa no longer have
class music at school. In the previous curriculum every
child was given the opportunity to learn rhythm clapping,
note reading and the playing of Orff instruments.
In the present curriculum music is a subsection of Arts
and Culture, and very little time is devoted to music.
An additional problem seems to be that many of the
teachers of this subject are not really trained in music,
thus lacking the necessary background to train young
children in certain music skills, with the result that the
instrumental teacher often has to teach even the very
basic aspects of this important subject. But this ‘problem’
of the book can of course be overcome by any good
and inventive music teacher!
I recommend this book very highly as a very valuable
supplement to other methods. Most pupils who buy
the book will be loathe to part with it when (s)he has
completed the work, as it is a wonderful book to have in
one’s own collection!
Inglis, P. 2003. Guitar Playing and How it Works. www.thewholeguitarist.com
Jenny Bonsignore
How did other people react to this book?
Another music teacher:
For the already competent guitar player it gives new
(and old) ideas on technique. The descriptions are
not easily understood especially if you do not have
a good idea of music notation, values and grouping
etc. The pictures are unclear (blurred).
A few advanced school music pupils:
Not very user friendly — quite difficult to understand,
unless you are a music teacher or have previous
musical experience. It may ‘cover it all’, but
perhaps things could be explained more simply
for a more enjoyable learning experience. Random
dance pictures? Why? They do not really fit with the
book. Easy to understand at the beginning but gets
very complicated after a few pages!
An advanced adult pianist:
Not suitable for a beginner without a tutor to guide
and assist the pupil through the book. Perhaps an
accompanying DVD/Video may be helpful. Pupils
using the book without some musical training will, I
think, be lost. The written text needs to be checked
for spelling and grammar!
An experienced adult male guitar player who can
read music (piano and drums and TAB), but has never
tried notated guitar music:
I paged through the book and I would not be interested,
it just looks too difficult!

someone who wants to change their technique. Many
people think they can’t learn to play the guitar because
they have small hands. Alexander Technique definitely
helps here, but so does using correct basic principles regarding
posture and holding the guitar correctly.
The book is definitely not suitable for beginners. The
music notation is far too advanced, and includes no explanation
of basic concepts of notation or note reading
at all — even on the ‘easy pages’. It does not progress in
a logical fashion, but jumps randomly between topics
that are simple to understand and others that are highly
technical, with fairly advanced rhythms, tuning methods
etc. (Not everyone has a tuning fork on hand, or
understands the physics of sound.) For beginners especially,
the Alexander Technique ideas would need to be
presented in conjunction with suitable music. The presentation
of scales is very confusing for someone who is
doing music for the first time. What is a scale? What is
a fret? Arpeggios within the octave and dominant seventh
arpeggios!? I don’t really agree with Mr. Inglis that
almost everyone has a basic concept of Western major
scales! Some of the teaching ideas in the book are
very strange and confused. The author assumes a good
It is not too often that you
find an instruction book in
which the author has really
managed to envelop
the spirit of its intent. Seymour
Bernstein’s With Your
Own Two Hands is such a
book. This internationally
known pianist, teacher, and composer guides the modern
pianist out of a wealth of experience to the heart of
music and music making. As the subtitle declares, the
reader is directed towards self-discovery through music.
In the preface the author expresses the wish that
every musician must acknowledge that “I am what my
talent is.” Most importantly, the author urges musicians
to be contributors — not only of artistic values, but of
human values as well. The book is therefore in many
ways an endeavour to help both the amateur and the
professional to merge the personal and musical self and
as a result realise his or her full potential. He writes in
an informal style and the many narrative accounts on
a personal level make the book even more accessible.
His commitment to a life in music is inspirational and
should motivate students and professional musicians to
journey with perseverance and enjoyment.
In the first of three parts, Bernstein confronts the
most fundamental problems every student of music
must deal with at some time or another. His advice on
knowledge of music by the reader, and then explains a
very elementary musical idea in the next sentence. One
would need to buy a basic rudiments of guitar music
book to get anywhere with it, and have lessons with an
Alexander teacher. (Not very appealing for the regular
teacher to lose his pupils to an AT specialist unless the
teacher is willing to spend time learning this approach.
Most teachers are too busy to start again and are set in
their ways in any case!) Perhaps workshops could be run
to introduce the concept to teachers.
The book seems a bit gimmicky to me with all the
dance pictures — rather over the top and irritating to
be honest. The pictures showing hand positions were
mostly with the guitar lying flat!! — not a good subliminal
image for a new guitarist! The book has possibly not
been edited yet, since it is full of errors.
Jenny Bonsignore (a professional member of the SASMT) has
been teaching music for 25 years, including piano, recorder and
voice. For the past 14 years she has taught class music with guitar
as one of the instruments: “…folk and classical at a very elementary
level. Most learners have never held a guitar before — I teach
them to hold it correctly.”
Bernstein, S. 1981. With your own Two Hands: Self-discovery through Music.
New York: Schirmer. ISBN 0-7935-5712-7. Distributed by Hal Leonard.
www.halleonard.com.
Waldo Weyer
the issues involved in practising is offered with great
candour. Students and teachers alike will find the five
profiles on the different kinds of pupils and their habits
of practising enlightening. Flowing from this, Bernstein
discusses issues concerning the relationship between
teacher and pupil with penetrating discernment. The
art of practising is also looked upon from the all important
perspective of concentration. A vast array of ideas
is given to assist a musician in the quest for a sincere
involvement with music. Bernstein concludes this first
part with an insightful section on feeling. His explanation
of physical adaptability to sound is compulsory
reading for any instrumentalist.
The second part stresses with wonderful simplicity
some of the key factors that will assure musical playing
and physical comfort at the piano. The disciplines
covered in these chapters include: tempo, rhythm, and
pulse, the importance of listening, as well as a variety
of technical problems, including the relaxation myth.
It is, however, the final section of this part, concerning
choreography, which I found most applicable to my
own teaching and playing. The chosen examples from
the music literature are most apt. Even more so are the
articulate descriptions of the variety of movements that
are needed to convert the symbols of musical notation
into physical actions (or muscular responses) and that
will ultimately result in a musical and expressive rendering
of the composition.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

With all the aspects regarding preparation and
technique dealt with, the third and final part follows
logically, as it addresses the core of our interaction with
music: fulfilment through performing. Bernstein reveals
the misconceptions regarding the world of performing
and urges us to be responsible to our talents. The arguments
put forward hold true for the amateur as well as
the professional musician who strives for the highest
artistic standard.
An extensive section on memorisation commences
with a historical survey of the subject. Different methods
to memorise music are presented, all presupposing
a systematic approach and a well-organised programme
of repetition. His step-by-step outline contains many
helpful hints to reduce frustration and really makes
memorisation an achievable goal. As a motivational afterthought,
Bernstein emphasises that maintaining our
memory skill will keep us young through perseverance
and quickening the mind. The book concludes with a
reflection on nervousness. The inquiry into this matter
yields many vital questions and I can only reiterate that
in fact all instrumentalists will find his discussions and
solutions applicable to their specific needs.
Seymour Bernstein writes with wisdom and conviction.
I can recommend this book to anyone interested
in teaching and performing music. The book is proof
of an innate pedagogical gift. It displays a true knowledge
of the many learning theories that have come to
Another publication by ABRSM Publishing is Sixty for
Sax: Progressive Studies for Unaccompanied Saxophone
by Alan Bullard (ISBN 1-86096-537-7). The pieces are
suitable for all saxophones and explore the instrument’s
versatility and the performer’s ability to portray different
moods and characters. They progress from grade 1
tot grade 8, covers different aspects of technique and
have been tried and tested by various saxophone teachers
and pupils. The pieces will also work well in concerts.
Every sax enthusiast will love the pictures on the cover.
Maybe ABRSM can publish a poster for the aficionados?
www.abrsmpublishing.co.uk
South African Music Teacher |144 | November 2006
Other publications, cd’s and compositions by
Seymour Bernstein.
The best seller, Monsters and Angels: Surviving a
Career in Music, deserves special mention.
Chopin: Interpreting His Notational Symbols, 20
Lessons in Keyboard Choreography, Musi-Physi-
Cality, Birds, Books I and II, Moodscapes, The
Earth Music Series, Books 1-5, New Pictures at an
Exhibition, Lullaby for Carrieann, Insects, Books 1
and 2, Belinda the Chipmunk, Raccoons, Books 1
and 2, Köchel and Sheila, Concerto for Our Time,
Fantasy on a Theme by Francisco, Ten Organ Interludes,
One World
CDs: A Retrospective, Seymour Bernstein Performs
His Own Compositions
www.seymourbernstein.com
define our understanding of education. His grasp of the
psychological complexities that characterise mankind,
is evident. The result is a comprehensive analysis of the
pianist and the various issues that could impact his or
her professional development. These aspects put aside,
the advice on purely a practical level is sound and to the
point, leaving no room for ambiguous interpretations.
With Your Own Two Hands is in A5 format and comprises
of 296 pages. An index is supplied and footnotes
refer the reader to the relevant sources, many of which
are considered seminal works.
Florian Bramböck and Universal Edition cooperated to
bring us Afro-Latin Sax Duets (ISBN 3-7024-3043-1; UE33
060). These easy to moderately difficult duets serve as
an introduction to the genre and presents “some Latin
and African grooves.” Two of the familiar melodies —
Chan Chan Son and La Cucaracha — are presented in
two different arrangements. Other favourites include
Gunatanamera and Pata Pata. Among the sixteen attractive
pieces are also original compositions.
www.universaledition.com

o p i n i o n ~ o p i n i e
Debate on the role of competition in music education is
characterised by two divergent perspectives. These positions
are based on different perceptions of humanity
and its music making. The first essentially treats musical
performance as a specialist activity for a select few, while
the second regards it as part of the core curriculum. The
exclusive approach adopts an evolutionary stance: Humans
compete in education because they compete in
life. Consequently, an expert minority emerges in music,
sport and science by a natural and inevitable process of
elimination. There is at times a discomforting awareness
of such biological crudeness, expressed in the adage
that competition is an evil necessity. However, this unease
is overcome by the belief that competition “builds
character” and ensures high standards of performance.
From this perspective, excellence can be achieved best
by competitive behaviour.
The divergent view argues that competitive behaviour
is so integral to our lives that we often are blind to
its damaging effects. Our photo albums bear testimony
of a life-long contest, from tricycle races in nursery
school to selection for retirement home committees.
While appearing constructive, such behaviour generally
is divisive, dehumanising and demotivating. Eric Holm,
a columnist for Beeld, suggests that competition is the
bogey that the industrial “brave new world” employs to
line up its cannon fodder, pointing out that “this is ugly
and extremely unchristian.”
This is most evident in sport, which is one of the
cornerstones of our education system. A recent newspaper
photograph shows Ruud van Nistelrooy of Manchester
United, after failing to score against Deportive
la Caruna in the European Championship League: He
has pulled the bottom front of his shirt over his head
in shame. Research accordingly shows that up to 80%
of all teenagers in Western countries prematurely stop
participating in competitive sport, which is described
by Holm as a terrifying means of beating (even injuring)
and humiliating fellow participants. His is not the
only voice against the undermining social effect of
competition in sport. Only recently a number of leading
rugby-playing schools in South Africa agreed to put an
end to ranking their teams, while a prominent Gauteng
school withdrew from a regional rugby contest because
of what was described as excessive competitive behaviour.
Such behaviour is overwhelmingly egocentric and
demands constant comparison with others. It promotes
unwarranted tension, violence on and off the field and
the use of banned substances. More insidiously, it encourages
unrealistic goals and dubious self-perception.
Austin (1990) notes that young competitors often attribute
success to ability rather than effort, while “habitual
losers, starved for psychological rewards, eventually
In pursuit of excellence:
Philosophical musings on music education and competition
Jaco Kruger
abandon the positive, coping strategies associated with
striving for success and adopt tactics designed to avoid
failure.” They come to believe that human value is not
intrinsic, but determined by the total number of certificates,
badges and cups accumulated.
While sport is an explicit model for understanding
competition, its psychological effects are no more
harmful than those of competitive music making. Austin
(1990) complains that it is “difficult to tell where the
athletic field ends and the music classroom begins”,
and that musicians “cling to the tradition of competitions
and contest with a level of single mindedness that
defies logic.” It is not unknown for supporters of choirs
that compete in local competitions to assault one another,
and for adjudicators to succumb to intimidation.
But lest we protest our innocence of such aggression,
we should be reminded of our own, often unreflecting
use of speech patterns that indirectly promote degrading
behaviour. An art music critic from a prominent local
weekly newspaper describes a musician as “taking
all major musical awards on offer in South Africa” and
appearing “unfazed by his latest competition triumph.”
Similarly, we habitually refer to winners of music competitions
and bursaries as the “cream” of our learner
population and their institutions as “top” schools or university
departments. Furthermore, we turn our awardgiving
ceremonies into public spectacles in which the
winners share the stage and the defeated disappear
into the audience.
From a biological perspective there certainly is a
case to be made for competitive behaviour as innate
and geared towards survival. However, the final form
our competitive instinct takes is determined culturally.
There are numerous cultures in the world in which
competitive behaviour is controlled. These typically are
cooperative cultures in which material accumulation
and individualism is not a central concern. Quarrels in
Balinese culture rarely if ever end in open conflict, but
instead are dealt with by formal acknowledgement of
the position of both parties (Geertz, 1974). Similarly, the
Balinese raise their children by neutralising social tension,
which has the effect of diminishing their instinct
for competitive behaviour (Small, 1977). Certain African
cultures also have a history of conflict avoidance
by promoting egalitarianism and social cohesion, and
restraining individualism. Blacking (1979) remarks that
“traditional Venda society encourages individuality and
the development of musical skills, but within the framework
and in the service of the collective. It recognises
the creative potential of all men and women but abhors
the kind of system that has in Europe and America bred
stars and superstars and suppresses the musicality of
the masses.”
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

This does not mean that these cultures do not pursue
excellence. However, we should consider that there
are other ideologies than our own about the ideal human
condition. Holm describes the failed effort during
the 1960s to incorporate a San athlete into the South
African Olympic team: He viewed competitive behaviour
as discourteous, and allowed slower athletes to run
in front of him. So, while there is a tendency in capitalist
culture for excellence to serve personal status and
financial gain, it is judged for its ability to create a sense
of community in other, usually subsistence oral cultures.
For example, excellence in tshikona, the Venda bamboopipe
dance, takes the form of the perfect execution of
interlocking musical parts, each produced by a different
player (see Kirby 1968), and perfectly timed changes to
team dance steps. In trance music the world over, excellence
is made evident when dancers or spirit mediums
enter a state of altered consciousness. This condition
can only be achieved when a clearly defined set of aesthetic
and social parameters is made operational (see
Rouget, 1985).
The essence of these objectives is part of our own,
often forgotten history too. The Bible stresses the importance
of community by means of the familiar body
metaphor (1 Cor.12). And, although the task of Jewish
religious music making was restricted to male Levites,
all 288 of them participated, “whether they were young
or old, experts or beginners” (1 Chron. 25:5-8). We consequently
need to disabuse ourselves of the idea that
excellence is exclusively or even mainly dependent on
competition. After all, many people experience some inexplicable,
deeply emotional need to produce art. Very
often they explain their calling to music and dance in
spiritual terms. It is difficult to imagine that the icons
of artistic and scientific creativity produce outstanding
results merely because they are forced to compete and
not from some inner compulsion to experience, discover
and express. Leonardo da Vinci had an insatiable thirst
for knowledge, and became an expert in diverse fields.
And like many achievers he shunned publicity.
Clearly therefore, we can benefit from educational
strategies that prioritise enjoyment and cooperation.
These strategies attempt to reduce or even eliminate
fear, thus promoting creativity, concentration and perseverance.
They do not treat learners as extensions of
the aggressive egos of parents and teachers, but as
unique individuals who pursue personal standards of
excellence by an inner compulsion to experience and
know. Furthermore, learners are required to work with
rather than against each other. Cooperative strategies
“build character” in the form of emotional intelligence
— that skill which satisfies individual needs without
alienating others. But they do more than this. While
competitive behaviour in music undermines learning,
achievement and creativity (Austin, 1990; Miller, 1994),
cooperative behaviour produces an astonishing degree
of communal wisdom and creativity.
Participatory teaching strategies show that, while
not every learner is able to arrive at all the solutions to
complex problems, the collective inevitably is able to
South African Music Teacher |144 | November 2006
do so. And so the benign presence of others enables us
to learn effectively as we bond with them.
The cooperative strategy also may be applied with
success to musical performance. Our entire system of
examination and recital is geared primarily towards
solo performance. Perhaps we need a better balance
between individual and ensemble performance. It is
common knowledge that ensemble playing develops
individual skills as well as interactive social and
musical expertise. Certain forms of musical ensemble
(e.g. percussion and marimba bands) allow a policy of
egalitarianism that permits each member the freedom
to perform any musical part. This not only means that
the burden of playing demanding parts is shared, but
it also allows all members to experience both leading
and supporting roles, and find their own niche in group
settings.
Competition is part of the hidden curriculum of education
whose divisive, demotivating character causes
incalculable harm to our social health and humanity.
When competition invokes music as a “noble art”, and,
even worse, “the language of God”, perhaps we need to
question the very foundation of our value system. Competition
too often seems a socially condoned way of experiencing
the thrill of the kill. But we are set apart from
the natural world because we have the ability to reflect
on our condition, and pursue moral values that make us
ever more human.
BIBLIOGRAPHY
I would like to acknowledge the inspiring work of the following
columnists in Beeld: André van Niekerk (‘n Woord
onderweg), Wilhelm Jordaan (Van mens tot mens) and Eric
Holm (Die wêreld om ons).
AUSTIN, James R. 1990. Competition: Is Music Education
the loser? Music Educators Journal, 76(6).
BLACKING, John. 1979. Musicians in Venda. The world
of music, 21(2).
GEERTz, Clifford. 1973. The Interpretation of Cultures.
New York: Basic Books.
KIRBY, P.R. 1968. The Musical Instruments of the Native
Races of South Africa. Johannesburg: Witwatersrand
University Press.
MILLER, Rodney E. 1994. A Dysfunctional Culture: Competition
in Music. Music Educators Journal, 81(3).
ROUGET, G. 1985. Music and Trance: A Theory of the
Relations between Music and Possession. Chicago:
University of Chicago Press.
SMALL, Christopher. 1984. Music, Society, Education.
London: John Calder.
Jaco Kruger teaches social musicology and
popular music in the School of Music at North-
West University. He also takes special interest
in developing the African music curriculum.
He is currently preparing a collection of Venda
song stories for publication.

e p o r t ~ v e r s l a g
Thank you to all who took the time to complete the
questionnaire. Although the feedback was quite small
(17 teachers and 54 learners) it was certainly very interesting
and edifying to read the responses. These seventeen
music teachers teach 1307 learners!
Teachers’ response
It was just amazing to see which instruments are taught:
accordion, clarinet, drum kit, flute, fife, guitar, keyboard,
piano, recorder, saxophone, steel pan, violin, viola, voice
and theory. The instruments that the majority of learners
play are piano, recorder, guitar, voice, flute, violin/
viola — the top-five. By far the majority of learners are
beginners. A graph plotting the amount of learners in
four categories are instructive. This survey focused on
music examinations, but we still wondered about the
considerable ‘drop-out’ of beginners. This can be investigated
further.
1200
1000
800
600
400
200
0
beg. - gr3 993
grade 4-6
grade 7-8
advanced
Eisteddfodau, festivals and competitions are more
popular than music examinations — 295 (23%) learners
were involved this year. The highly-motivated teachers
play a pivotal role in entering their learners to participate
in these events. The reasons parents and learners
gave for wanting to play in eisteddfodau differs from
those related to examinations. Although for some learners
playing at an eisteddfod is a step in the preparation
for examinations, the focus is more on enjoyment, selfgrowth,
showing off, meeting an audience and receiving
awards. Some of the answers were:
… to have fun
… experiencing performance
… want to impress people
… self fulfilment
… to overcome stage fright in a relaxed environment
… starting point for public performance
… point towards Arts and Culture
… diplomas awarded
Only 52 of the 1064 beginners – grade 3 learners, played
a music examination, eleven of the 96 grade 4 – 6 learners,
four of the 55 grade 7 – 8 learners and none of the
fourteen advanced learners.
60
50
40
30
20
10
0
Readers Survey
Hetta Potgieter
beg.-gr3
grade 4-6
grade 7-8
advanced
The majority of learners played ABRSM examinations
(59), followed by UNISA (41), Trinity-Guildhall (17), NSC
(15), and ALMSA (4). However, this information was not
always clearly indicated on the surveys. In most cases
the teacher took the initiative to enter the learners for a
music examination and from the feedback of the learners
it seems that there is consensus that learners also
want to enrol for examinations. The reasons parents
and learners gave for wanting to play examinations vary
from developing the child as a person, and motivation
to work harder and more disciplined, to prestige and
achievement. Here are some of the answers.
… challenging oneself
… to feel achievement
… encouraging practising
… children will work harder if they play exams
… showing progress
… peers ask what grade you are
… furthering of musical qualification
… get merit, colours or honours at school
Parental involvement in lessons, performances and
practise sessions is low. Teachers regard the participation
of parents in a positive light and consider it very important:
“Parental support is essential – where parents
are involved children have more confidence and is well
prepared“ and “involvement brings positive results”.
Some have negative experiences of parents putting too
much pressure on learners to achieve.
Attending concerts are not a priority for teachers, only
nine teachers — roughly half of the respondents — indicated
that they take their learners once a year to a
concert. It is difficult to attend concerts especially for
those not living in cities. Tickets for ‘good’ concerts are
expensive. Learners, friends and parents attended concerts
together more often than with teachers.
Learners’ responses
Although the majority of learners admitted that they
were nervous or felt relieved that they had completed
their examinations, many enjoyed playing a music
examination and felt encouraged to play the next
one. Comments were made about the kindness
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

and friendliness of the examiners who made their
experiences more positive. General remarks about what
they did not like were, among others, playing scales and
the duration of the examinations — they were too long.
They enjoyed especially the examinations of ABRSM
and Trinity College because they are shorter and do not
include scales. Almost all the learners were keen to play
more examinations.
The majority of learners prefer to play in public because
“it is easier to play to people than to an examiner”. Opportunities
like playing for weddings, in church and
accompanying the school choir gave them more confidence
and made them feel good about their music and
themselves. Some mentioned that they are shy and others
that there is not really a difference between playing
to people or for an examination.
Only 176 learners from the total of 1307 took part in
ensemble playing — 13%. All learners agreed that ensemble
playing is a most enjoyable activity. A full timetable
and lack of free-time are two of the reasons why
they cannot make music together more often. Some of
Orchestral
repertoire by 32
composers are
found in the two volumes
of the anthology of orchestral excerpts, The Orchestral
Violinist published by Boosey & Hawkes (ISMN M-
060-11595-0 & ISMN M-060-11596-7). Rodney Friend
has expertly edited the music by adding bowings
in red, fingerings in black and comments on style in
green with the aim to teach — from his decades of
experience in the best orchestras in the world and
under famous conductors — the tricks of the trade to
young violinists.
Bernard Haitink writes in the preface: “There is a
real need for a practical working guide to standard
orchestral excerpts to aid young musicians in preparing
both for auditions and for the start of their orchestral
careers. In this collection, Rodney Friend, whose career
as an eminent concert master and teacher makes him
ideally qualified to give appropriate technical, musical
and practical advice, passes on to the young violinist
the benefit of his years of experience.”
www.boosey.com
South African Music Teacher |144 | November 2006
the learners are playing in youth orchestras or similar
groups and feel that they have enough exposure to ensemble
playing. They mention that it is difficult to get
musicians together — everybody has a full schedule.
Those who do not play in an orchestra or in church want
to make music together more often.
What gives them the impression that they are progressing?
Eisteddfodau, music concerts/evenings/functions,
performing with the choir, advancing to the next music
grade and better marks, as well as passing music examinations,
receiving trophies and music awards, and being
selected to a prestige ensemble.
Hetta Potgieter is Associate Professor in Music
Education at North-West University, Potchefstroom.
Her studies from BMus through BMus
Hons and MMus (both cum laude) culminated
in a DMus in 1997. She has delivered papers
and workshops at various international conferences.
Since 2004 she has been co-editor of the Journal of the
Musical Arts in Africa.
r e v i e w s ~ r e s e n s i e s
The SPECTRUM
series was established
in 1996 by
ABRSM Publishing
and Thalia Myers.
Born out of her frustration
with the lack of contemporary music (“equivalent
to the Beethoven bagatelle”), the project has resulted
in the commissioning of more than 150 pieces in less
than ten years. The series consists of four albums for piano
and one for cello and piano. The aim of the series is
to commission some of the finest composers to write
pieces of modest length and difficulty, while preserving
their characteristic style. Spectum 4 (ISBN 1-86096-376-
5) is a collection of 66 miniatures ranging in standard
from Grade 1 to Grade 5. Five pieces has accompanying
soundtracks included on the CD. Spectrum for Cello
(ISBN 1-86096-373-0) contains sixteen pieces ranging in
difficulty from grade 1 tot grade 8. They can all be heard
as performed by William Bruce and Thalia Myers on the
professionally produced CD.
www.abrsmpublishing.co.uk

a d v e r t o r i a l
The Associated Board of the Royal Schools of Music
(ABRSM) is the world’s leading provider of music exams.
Each year over 630,000 candidates take our exams in
more than 90 countries around the world. Since 1889
we have provided music educators, pupils and parents
with exams and assessments that promote consistent
standards and carry recognised international authority.
A total commitment to music education lies at the heart
of our work.
ABRSM enjoys a close relationship with four of the
leading conservatoires in the UK: the Royal Academy
of Music, London; the Royal College of Music, London;
the Royal Northern College of Music, Manchester and
the Royal Scottish Academy of Music & Drama, Glasgow.
The graded exams and assessments are open to
all age groups and to all levels of ability. As well as being
accredited in England by the Qualifications and Curriculum
Authority, they are also recognised formally in a
number of countries internationally.
Prep Test
The Prep Test is designed for pupils who have been
learning an instrument for about six to nine months
and provides an ideal introduction to taking an exam.
It is intended to be as relaxed and enjoyable as possible
– no marks are awarded and there is no pass or fail. At
the end of the assessments candidates are immediately
rewarded with a certificate, which includes positive and
helpful comments from the examiner.
Practical Exams Grades 1-8
Each of the eight graded exams represents a logical
step in the musical development process. Practical syllabuses
are available in over 35 subjects. A jazz syllabus
for Grades 1-5 only is also available for clarinet, alto sax,
tenor sax, trumpet, trombone, piano and ensembles,
currently offered in the United Kingdom, Australia, New
Zealand, Malaysia and Singapore only.
Practical exams offer candidates the opportunity to
demonstrate their skills through prepared works and
musicianship tests: set pieces or songs; scales and arpeggios/broken
chords or, for singers, an unaccompanied
folk song; sight-reading or quick study and aural
tests.
Theory of Music and Practical Musicianship Exams
Grades 1-8
The Board believes that a thorough knowledge and
understanding of the elements of music is essential in
performance. For this reason, before moving on to a
practical exam at Grade 6, 7 or 8, candidates must first
The Associated Board of the Royal Schools of Music
pass Grade 5 (or above) in Theory of Music, Practical
Musicianship or a solo jazz subject. The Theory of Music
syllabus is examined through written exams whilst the
Practical Musicianship syllabus assesses formal theoretical
knowledge in a more practical way.
Diplomas
These highly respected International qualifications
provide valuable opportunities for musicians to gain
recognition for their abilities and achievements. There
are three diploma subject-lines: Music Direction; Music
Performance and Instrumental/Vocal Teaching. Each
subject-line has three levels of award: Diploma of the
Associated Board of the Royal Schools of Music (DipA-
BRSM); Licentiate of the Royal Schools of Music (LRSM)
and Fellowship of the Royal Schools of Music (FRSM).
For further information www.abrsm.org
ABRSM South Africa Representatives
Eastern Cape Region
Mrs Ayleen Radley
82 Lily Avenue
Sunridge Park
Port Elizabeth 6045
Tel: 041 360 3218
Fax: 041 360 5281
Email: ayleenr@iafrica.com
Western Cape Region
Mrs Jill Eichler
4 St Barnabas St
Tamboerskloof 8001
Tel: 021 423 3010
Fax: 021 426 0849
Email: eichler@mweb.co.za
KwaZulu-Natal and Free State Region
Mrs Ilse Van Der Walt
33 Ntabamhlope Road
Estcourt 3310
Tel/fax: 036 358 1341
Email: abrsm.kzn@futurenet.co.za
Gauteng and surrounding regions, Botswana and
Swaziland
Ms Meg Twyford
PO Box 1895
Houghton 2041
Tel/fax: 011 673 7389
Email: megtwyford@ananzi.co.za
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

e s o u r c e s ~ b r o n n e
Fifty Years of ITV
ISBN 0-571-52470-2
Faber Music
The Avengers, Black Beauty,
Blockbusters, Bramwell,
Catchphrase, Cider With
Rosie, Cold Feet, Coronation
Street, The Darling
Buds of May, Emmerdale,
Foyle’s War, Harry’s Game,
Hornblower, Inspector
Morse, Kavanagh QC,
Midsomer Murders, The
Professionals, Rebecca,
Rising Damp, The Saint, Sharpe, A Touch of Frost, Where
The Heart Is
www.fabermusic.com
South African Music Teacher |144 | November 2006
Simplified. Simply Red
ISBN 0-571-52468-0
Faber Music
Perfect Love, Something
Got Me Started, Holding
Back The Years, More, A
Song For You, Your Mirror,
Fairground, My Perfect
Love, Smile, Sad Old Red,
For Your Babies, Ev’ry Time
We Say Goodbye
p u b l i c a t i o n s r e c e i v e d
Wiener Urtext Edition
Schott/Universal Edition
Reubke: Orgelwerke (UT 50243)
Der 94. Psalm (Sonate) / Trio / Adagio
Wiener Urtext Album (UT 50251)
Easy Piano Pieces from Bach to Shoenberg
Mozart: Klavierstücke (UT 50229)
Band 1: Frühere Werke (KV1-6, 8, 15, 32, 33, 42, 61, 72,
94, 103, 111, 135, 176, 206, 236, 269, 315)
Mozart: Klavierstücke (UT 50230)
Band 2: Spätere Werke (Rondos, Sonatensätze, Präludien,
Fantasien und Fugen, Kleinere Einzelstücke, Klavierarrangements,
Deutchse Tänze)
All Women Tear Jerkers
ISBN 0-571-52449-4
Faber Music
I’m Still Waiting, It’s a
Heartache, Love Don’t
Live Here Anymore, Piano
In The Dark, Piece Of My
Heart, Stay, Talking In Your
Sleep, Tracks Of My Tears,
Twist In My Sobriety, Unbreak
My Heart, Wishing
On A Star, You Might
Need Somebody (all with
backing track)
Jamie Cullum. Catching
Tales
ISBN 0-571-52471-0
Faber Music
Get Your Way, London
Skies, Photograph, I Only
Have Eyes For You, Nothing
I Do, Mind Trick, 21st
Century Kid, I’m Glad
There is You, Oh God, 7
Days To Change Your Life,
Our Day Will Come, Back
To The Ground, Fascinating
Rhythm, My Yard
Mozart: Werke für Klavier 4 Händen (UT 50219)
Sonatas (KV 19d, 381, 358, 497, 521), Andante mit Variationen,
Allegro und Andante, Fantasien (KV 594, 608)
Chopin: Sämtliche Etüden (UT50205)
(Badura-Skoda)
Liszt: Etudes d’exécution transcendante (UT 50233)
Also included: Grandes Etudes 2 & 7
Ubber/Kraus
Mozart Klaviersonate A-Dur KV 331 (UT 50249)
Leisinger/ Scholz
Dvořák: Werke für Violoncello & Klavier (UT 50244)
Polonaise, Rondo, Slawischer Tanz, Waldesruhe (Klid)
JS Bach: 6 Partiten (Klavier) (UT 50192)
Engler/Picht-Axenfeld

h o n o r a r y m e m b e r s
Ivan Killian was born in Cape Town. He studied piano
with Fransiska Scott and Sona Whiteman and organ
with Leslie Arnold. After being appointed as organist
and choirmaster of St Michael’s Anglican Church in Observatory,
he studied in London at the Royal School of
Church Music when he was organist and choirmaster
of the famous Anglo-Catholic Church of St Alban’s in
Holborn, London.
When he returned to South Africa he was appointed
the first director of music at St Andrew’s School
(Bloemfontein), where he was also a member of the
local SASMT committee. In 1961 Ivan Killian relocated
to Grahamstown to work for ten years at St Andrew’s
College where he established a choral society and a
music society. In Grahamstown he also served on the
SASMT committee.
In 1971 he returned to Cape Town as head of music
at two schools and the assistant organist at the Groote
Kerk until Japie Malan’s retirement, when Ivan became
the organist and choirmaster. These Cape Town years
were also dedicated to service to the society: he was
business manager of this magazine from 1971 to 1984, a
member of the Cape Town SASMT committee, chairman
for many years, and vice president of the Western Cape.
In 1976 he was president of the society. For the past
twenty years he has been on UNISA’s panel of music examiners,
and a presence at numerous eisteddfodau and
festivals. He also served on two SASMT excos. He still adjudicates
and teaches part-time at the Rustenburg High
School for girls in Rondebosch. Ivan Kilian was awarded
honoray membership of the SASMT in 2004.
p u b l i c a t i o n s r e c e i v e d
G. Henle Verlag
Schott/Universal Edition
Chopin: Polonaise Brillante (Opus 3) & Duo Concertante
for piano and cello (HN 788)
Clementi: Piano Sonata in G Major, WO 14 (HN 817)
Reger: Fantasia and Fugue on B-A-C-H for Organ, Opus
46 (HN 760)
Liszt: Hungarian Rhapsody, no. 6 (HN 804)
Schumann: Liederkreis, op. 24 (HN 548)
Schumann: Piano Quintet, op. 44 (HN 355)
Schumann: Piano Quartet, op. 47 (HN 737)
Hubert van der Spuy was born in George and studied
music at the University of Stellenbosch with Betsy Cluver
and Chris Swanepoel. He studied harpsichord under
Isolde Ahlgrimm at the Akademie für Muisk and Darstellende
Kunste (Vienna), and started his career at the
Denneoord Training College in Stellenbosch. From 1970
to 1984 he taught at the University of Durban-Westville
after which he was head of the music department of the
University of the Western Cape until 1990. His interest in
musicology produced two doctorates: A D.Phil on the
music history of Pietermaritzburg (1850-1902) and a
D.Mus on the compositions of Priaulx Rainier. After her
death he was appointed literary trustee for her legacy.
He also wrote articles on the one of the earlier South
African Composers, William Henry Bell.
His relation with UNISA started in 1973 as examiner,
and was solidified in 1991 when he was appointed director
(professional). In 1993 Dr Van der Spuy was appointed
professor in the department of musicology
at UNISA. Since 1993 he has been the chairman of the
yearly UNISA South African and UNISA Overseas Scholarship
Competitions. He has been a member of the jury
of the UNISA Transnet International Piano Competition
and the Concours Panafricain de Musique et des Arts.
His membership of the SASMT has been active: he
was president of the society in 1982, 1986 and in 1993/4,
and is currently president elect. Prof Van der Spuy became
an honorary member of the SASMT in 2003. He
has published a number of articles in Musicus, the Jagger
Journal and the South African Music Teacher.
In the next issue of the SAMT we will report on another
honorary member, Prof Rupert Mayr.
Henle’s Studien Edition (Urtexten) is produced in
A5 format.
Mozart: Works for Piano Solo (HN 9023)
Four volumes in a folder: sonatas, variations and other
compositions for piano
Mozart: Chamber Music with Piano (HN 9027)
Four volumes in a folder: Quintets KV 452 & 617, piano
quartets, works for violin and piano, piano trios
Haydn: String Trios (HN 9425)
Beethoven: Messe C-Dur, op. 86 (HN 9548)
Brahms: Symphony II D Major, op. 73 (HN 9853)
0 Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

in
‘ n S u i d - A f r i k a n e r a a n d i e
R o y a l A c a d e m y o f M u s i c ( L o n d o n )
Die RAM is gestig in 1822 en word beskou as die mees senior
konservatorium in die Verenigde Koninkryk. Die statige
geboue is geleë in sentraal London, reg langs Regent’s Park.
Dit is naby die Wigmore Hall, die Barbican, die South Bank
Centre, Covent Garden, die London Coliseum, St John’s
Smith Square, en verskeie ander plekke waar die beste
kunstenaars in die wêreld gereeld optree. Studente wat aan
die RAM studeer kry hulle kwalifikasies deur die University
of London waarmee die konservatorium geaffilieer is. Meer
as 90% van die RAM studente volg suksesvolle loopbane
na afloop van hulle studies. Die RAM huisves ook een
van die grootste versamelings van strykinstrumente wat
in Cremona vervaardig is deur bekende makers soos
Stradivari, Guarneri, Guadagnini en Amati. Verskeie van
die instrumente word deur leningskemas aan studente
beskikbaar gestel. Die York Gate Collections is ‘n
ander boeiende versameling van instrumente,
manuskripte en ander voorwerpe.
Die uitdaging van ´n internasionale studieomgewing
kan vir ´n Suid-Afrikaner wat nie
voorheen oorsee gestudeer het nie, ´n geweldige
aanpassing maar ook ‘n waardevolle lewenservaring
wees. Ongeveer 570 studente van meer as 50
verskillende nasionaliteite studeer tans aan die
RAM. Die klavierdepartement alleen het ongeveer
90 studente. Pieter Rooi was een van hierdie
studente wat, na die voltooiing van sy meestergraad
in klavier aan die Universiteit van Kaapstad, ‘n keuse
gemaak het om die internasionale arena te betree en
op die ouderdom van 29 die RAM se Postgraduate
Diploma in Performance aan te durf. Wat vir Pieter
en soveel ander pianiste na hierdie kursus aangetrek
South African Music Teacher |144 | November 2006
Mariné Rooi
het, is die reputasie van die inrigting en die beskrywing
van die diploma in die jaarboek: “The course serves as a
‘bridge’ to a performance career …”. Dit is spesifiek daarop
gemik om studente die geleentheid te bied om hulself te
meet aan internasionale vereistes wat ´n konsertloopbaan
aan ´n pianis stel en verdere opleiding by van die wêreld se
grootste meesters te kry.
Om toelating tot die RAM te kry word vereis dat ´n
student ´n oudisie in London doen of ´n video opname
van ´n uitvoering voorlê.
Keuring vir die spesifieke
kursus is baie streng en
die aantal toelatings baie
beperk. Dit is dus uiters

noodsaaklik om ´n oudisie van hoë gehalte te lewer om
sodoende ´n gesogte plek in hierdie welbekende instelling
te verseker. Studente wat hierdie kursus in nagraadse
uitvoering volg, het ´n keuse om dit oor een of twee
jaar te voltooi. Vir Pieter was die werkslading en die
hoë standaard ´n groot uitdaging en sy eie werkstempo
en vermoë om aan te pas het baie ontwikkel. Daar word
byvoorbeeld van studente verwag om voortdurend nuwe
repertorium aan te leer — werke wat tydens konserte en
‘performance platforms’ gespeel word, mag nie weer in die
eksamenprogram verskyn nie. ´n ´Performance platform’ is
’n uitvoeringsgeleentheid wat aan elke student gebied word
in die vorm van ´n oudisie. Die doel van hierdie uitvoering
is om die student se vordering as pianis te monitor. Verder
is daar ´n weeklikse voorspeelklas wat die vorm aanneem
van ´n meesterklas wat deur professore van die akademie
of ander musici waargeneem word. Daar is gereeld
gespesialiseerde meesterklasse wat aangebied word deur
wêreldbekende besoekende musici soos Alexander Satz,
Barry Douglas, Pierre-Laurent Aimard, Christina Ortiz,
Bryce Morrison en vele ander. Een van die hoogtepunte
vir Pieter was ´n werkswinkel oor Chopin se ballades deur
Sir Peter Maxwell Davies, hoof van komposisie by die
RAM. Van Pieter se dosente was befaamde pianiste soos
Aaron Shorr en Joseph Seiger.
Een van die verpligte modules is ’Presentation in
Performance’ wat fokus op praktiese aspekte van
konsertaanbieding en loopbaanontwikkeling. Tydens elke
optrede is daar ten minste een personeellid wat ´n verslag
skryf oor die uitvoering waarvan studente ´n kopie kry.
Eksamenprosedure is dieselfde as in Suid-Afrika: publieke
uitvoerings wat deur ten minste een eksterne eksaminator
beoordeel word.
Saam met Pieter was daar nog 4 ander Suid-Afrikaners
wat die RAM hul nuwe leerskool gemaak het. Twee ander
SA pianiste, De Wet Bruwer en James Baillieu is tans
besig met hul tweede jaar in hierdie kursus aan die RAM.
Niel Joubert, ´n sanger van Suid-Afrika wat verlede jaar
sy voorgraadse studies aan die RAM voltooi en, het nou
begin het met ´n meestersgraad.
Van sy ervaring by die RAM sê Pieter : “Ek het hier nuwe
selfvertroue en ‘n toekomsvisie as pianis ontwikkel omdat
die gedagte ‘the sky’s the limit’ so sterk hier ingeboesem
word. Ek sou waarskynlik nie maklik ´n uitvoering van
Andras Schiff of Alfred Brendel kon bywoon in Suid-
Afrika nie. Wat onderrig betref het SA natuurlik wêreldklas
leermeesters maar die hoeveelheid en verskeidenheid is
net soveel groter hier.”
Pieter en sy vrou Mariné, ‘n maatskaplike werker, het besluit
om in London aan te bly terwyl hy by ´n privaatskool
klavier onderrig gee en sy loopbaan as uitvoerende
musikus bevorder.
http://www.ram.ac.uk/welcome/index.html
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

In his 1996 presidential address Prof. Henk Temmingh
drew our society’s attention to some of the successes and
the potential of the Kimberley Academy of Music, saying:
“I predict that private music tuition will flourish. It already
does.” Now, ten years later, music tuition in Kimberley is
still flourishing, but not so private anymore. The Academy
has indeed fulfilled our great expectations; even exceeded
them more than once over the past thirteen years. Its
successes are also part of the society’s history, since KAM
(now the NIHE Academy of Music) is an institutional
member of the SASMT and its 14 music educators are all
professional members.
Kim and Faan Malan founded KAM in 1994 when a few
students started with music lessons in their house. Already
in 1995 KAM had to move into a renovated Victorian
house, owned by the Malans, close to the centre of
Kimberley and easily accessible to a number of schools.
In the same year the first band was formed. Interest and
motivation continued to grow and since 1999 14 Dalham
Road, Kimberley has been home to five bands and ensembles:
the Junior, Intermediate and Concert band, as well as
the Jazz Band and the String Ensemble — involving a total
of 600 learners in regular public performances and many
hours of happy musicing. The very young ones are also
included: the Kindermusik program is currently offered to
over 200 eager youngsters.
In 2004 the Academy entered into lengthy negotiations
with the National Institute for Higher Education in Kimberley
with the aim to establish a Music Faculty able to of-
South African Music Teacher |144 | November 2006
T h e M u s i c F a c u l t y o f
t h e N a t i o n a l I n s t i t u t e
f o r H i g h e r E d u c a t i o n
i n t h e N o r t h e r n C a p e
I n t e r v i e w w i t h F a a n M a l a n
fer tertiary education, the only of its kind in the Northern
Cape. The NIHE Academy of Music was founded in January
2005 and offers tuition in music theory and in various
instruments: piano, flute, violin, trumpet, saxophone, clarinet,
cello, percussion, horn, voice, tuba, organ, trombone,
and baritone horn. Currently more than 40% of learners
comes from previously disadvantaged communities.
The involvement of the NIHE Academy of Music in the
community has been remarkable. It has been instrumental
in Kimberley’s hosting of the “Songs of Praise” concerts
for four consecutive years. Learners and staff perform at
the Gariep Festival, its own Christmas concert (a charity
event for the Community Chest), old age homes, churches
and the hospice, as well as its home base and at the William
Humphrey’s Art Gallery. Since 2004 staff has been
running a community project in Galeshwe, which has
distributed more than 150 instruments that belonged to
the SANDF to various projects in the province. Learners
have taken part in the SANLAM and the ABSA competitions,
and in the South African National Youth Orchestra
Courses. SANYO is of course a SASMT hatchling that
found its own wings, strongly and proudly, and is now under
the very able administration of Faan and Kim, and co-
SANYO administrators, Lyn Klemp, Darryl Preece, and
Kopano Taole – ALL KIMBERLITES!
Since music teachers are so often bombarded with (often
ill-founded and sensationalist) messages of doom and
gloom, the editor thought it well-advised to investigate
this phenomenon in the Northern Cape to establish what

we can learn from these highly successful music educators.
And thus for our edification Faan Malan was asked a
battery of questions.
Did you think long and hard before starting KAM? Was
any research (like feasibility studies) done? Did you
speak to many other people, or did you quickly do an
MBA? Business plan?
We were forced to make a quick decision. We were all employed
in Taung, when the political uprising made it impossible
to do our work. Kimberley was simply the nearest
big centre and we did some planning and market research.
In March 1994 we called all the Kimberley music teachers
to a meeting in the Teachers’ Centre and told them what
we had in mind and we asked their blessing. The rest is
history. No one did an MBA — maybe later.
Did KAM have trouble with finding and retaining learners?
Did you advertise? How?
We had the blessing of the music teachers in town. They
gave us all the support we needed. The people of Kimberley
also accepted us with open arms. All we had to do was
to make sure we offer quality tuition. Word-of-mouth was
(and still is) the main method of advertising.
Which relationships did you build with other stakeholders
such as schools and local government? Did you have
suitable contacts, or a network of supporters in important
places? Can you provide advice to others who will
attempt something similar?
Government was in turmoil at this time (1994). We had to
rely on basics such as good service, honesty and co-operation
with schools. The network of supporters and contacts
followed.
Did you find that the institution had to adapt to a
changing environment? What are some of the external
pressures that you have (had) to contend with?
Today, almost 13 years later, the Kimberley Academy of
Music is a completely different institution. From a private
music school with only a small number of staff and students,
we are now the Music Faculty of the National Institute
for Higher Education in the Northern Cape, with 700
students and 14 staff members.
There are numerous external pressures. Classical music
has to compete with sport and all sorts of instant entertainment.
Due to our efforts, several schools in Kimberley
now have their own music programmes, orchestras,
choirs, shows, etc. We have to compete for a slice of the
‘time cake’. Then there is money. Tuition fees had to be
high to make it worthwhile for our teachers.
How did you (and the rest of your staff) deal with the
uncertainties that accompany the start of a new venture?
What were some of the risks that you had to take?
Initially we were only three teachers. It is important not
to spend too much initially on setting up. We hired classrooms
at a junior school in the afternoons for a few months
before investing in property for our venture. We initially
invested much time and enthusiasm (rather than money)
and quickly built up a clientele. The quicker our student
numbers grew, the more secure we felt. We felt very confident
that we could make a success of starting and running
such a music school — there were no uncertainties that I
can remember.
Where there any unsuspected opportunities that helped
KAM along the way?
The establishment of the National Institute for Higher
Education (NIHE) in the Northern Cape had a major influence
on the development of KAM. This changed our
direction and scope by introducing an exciting era of tertiary
studies.
Do you have strategies to find out what learners and
parents think? To what extent are they partners in planning
and executing activities such as rehearsals and
concerts? Or are they simply executing orders?
The only strategy we follow is one of personal contact. We
often talk to our clients and establish what their needs are
in an informal way. Very often it becomes necessary to tell
them what to do.
How important is it for your staff members to be good
role models? What specific things do they do? Are they
involved in continued professional development?
Very important. We have staff concerts and play in ensembles
and bands together with students. Most of the staff
members are busy studying something and attend related
workshops regularly. Skills development is a pre-requisite
for employment at the Academy of Music.
Are their certain processes in place to ensure shared
ownership of the institution?
The Kimberley Academy of Music is a Section 21 (nonprofit
making) Company. Five of the seven board members
are staff members.
How do you find and keep the continued support of
your community?
We offer services to schools such as help and support for
choirs, orchestras, school concerts and musical productions.
Our staff and students perform at various community
based events. We try to stay in the public eye.
How did you ensure that your institution created profit?
How did you establish the lesson fees?
Creating a profit was never the goal of this project. Making
enough money to pay salaries and necessary expenses was
the aim. Income (lesson fees) was worked out by deciding
how much a teacher should earn. An average is 25 hours
teaching (50 X 30min lessons)
Teachers were paid 90% of this income as salary and were
responsible for their own tax and the other 10% was used
for Academy expenses. This budget did not allow for anything
but the absolute necessities – luxuries were OUT as
we put the emphasis on the standard of education and our
relationships with clients. This scenario is based on the
Academy when it was totally private — before the merger
with NIHE.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

Where there any constraints that eventually became opportunities?
In the few months before we moved to Kimberley we approached
a few big businesses for funding. They all refused
us. We had to structure our business so that we could generate
all the funding ourselves to pay teachers and running
expenses. This forced us to think creatively about ways in
which musicians can make money and it became an opportunity
for us to develop skills in areas of music that we
previously had not needed to investigate. For instance, we
wrote music books which we sold to our students, promoted
ourselves as musicians for corporate functions and
weddings and presented demos at schools.
Which values and dreams does your staff share?
We all strive for quality tuition and the survival of our
product in a very competitive market.
For which aspects of you current career did your music
education fail to prepare you?
Business, management, accounting, bookkeeping and
entrepreneurial skills are subjects that we needed to have
qualified in, in order to be sufficiently equipped for managing
a music school.
Improvisation for Drummers
It has been my experience that drummers in improvisation
classes are often at loose ends when the class is
taught by a non-drummer. While I’m certainly no expert
on the instrument, I have recommendations for jazz improvisation
teachers with drummers in their classes.
Drummers should be able to solo over the form of the
assigned pieces and play the correct ‘feel’ of the assigned
pieces. It is optional but highly recommended that all
drummers should be able to play on the piano or sing
assigned material: the songs, scales and patterns. Furthermore,
drummers should be able to perform simple
3-note to 5-note piano voicings to the assigned pieces.
Jazz Improvisation Level 1 drummers should be able to
solo and play contrasting tunes, feels, forms and tempos
before advancing to Jazz Improvisation 2. Contrasting
exam pieces could be selected from the following list:
Impressions/So What — John Coltrane’s and Miles Davis’
recordings
Blue Bossa — Joe Henderson’s recording
Summertime — John Coltrane’s recording
Watermelon Man — Herbie Hancock’s recording
Song for my Father — Horace Silver’s recording
Satin Doll — McCoy Tyner’s recording
Cantaloupe Island — Herbie Hancock’s recording
Footprints — Miles Davis’ recording
South African Music Teacher |144 | November 2006
Faan Malan het in 1978 gematrikuleer aan die Pretoriase Hoërskool
vir Kuns, Ballet en Musiek. Na ‘n B.Mus. Ed. (US) en M.Mus
(UCT) in Franse Horing, het hy in verskeie orkeste opgetree as
professionele horingspeler. Koperblaasonderrig, dirigeer en die
afrigting van blaasorkeste maak ‘n groot deel uit van sy lewe. Hy
het ook al in Kaapstad en Bloemfontein gewerk.
Doxy — Sonny Rollins’ or Miles Davis’ recording
Autumn Leaves — Cannonball Adderly’s recording
Jazz Improvisation Level 2 drummers should be able to
solo and play contrasting tunes, feels, forms and tempos
before advancing to Jazz Improvisation 3. Contrasting
exam pieces should be selected from the class tune
list. The following material is highly recommended for
developing different feels, tempos, styles and forms.
Drummers should be able to perform in the correct
style and solo over: All Blues, All the Things You Are, A
Night in Tunisia, Body and Soul, Confirmation, Four, I’ll
Remember April, Oleo, On Green Dolphin Street and
Star Eyes.
Mike Rossi, a woodwind specialist and professor
at the South African College of Music (UCT)
received the Doctor of Musical Arts degree in
Jazz Studies from the prestigious New England
Conservatory in Boston, USA. He regularly performs
at jazz festivals and conducts workshops
in South African, Europe and the USA.

Starting one’s own music studio, or a similar venture, is
a daunting and complex undertaking, one for which we
as music educators only seldom receive adequate formal
training. I asked eight of our students —final years
and two postgraduates — how they felt about the prospect
of being ‘out there on their own’ next year. Here are
some of the remarks I heard.
”I have to admit, I’m a bit clueless and a bit scared, but
I have a vision and that’s what motivates me. The excitement
and the sense of purpose outweighs the fear
at this stage.”
“I am looking forward to this and see it as a great challenge.
I know that I have to learn more business skills,
but I think that it will be fun.”
“I feel excited and capable. I am a bit worried, but since
I do not need to apply for a post, I think I will have the
freedom to do what I want. We have learnt amazing
things during our studies.”
“I am excited and will love to run my own studio. But
the excitement is somewhat dampened by questions
like: Where will I get start-up capital? Which will be the
ideal venue? How will I do the marketing? It will be a
new experience for me to work on my own, and I am
wondering who will support me.”
“I will get a fright. I have never done something like this
and do not know how. I am wondering about the legal
aspects, and how to find start-up capital. I am not sure
how to go about implementing a plan. I am sure that I
will first have to do some thorough research.”
“I do not know much about financial matters and how
to organise that. My current experience of this makes
me worry. Then, how do I find a good venue? The didactics
I know and can look up, but the seemingly simple
things bring me most worries. There are so many
piano teachers in our city — this makes me wonder
about supply and demand.”
“The big questions for me will be: Where will I teach?
And where will I find start-up capital? How can I be
sure that I will make enough money to pay for everything?
How do I advertise and find pupils who are really
interested, not merely parents who force the kids
to take lessons?”
Luckily for these bright-eyed young educators some
of their predecessors felt similar feelings, managed to
make a success of their studios and careers, helped
others to do the same, and also decided to generously
share their ideas. Nowadays, starting your own studio
can be less daunting for those who are willing to read,
think and apply existing knowledge. Who knows, maybe
r e v i e w s ~ r e s e n s i e s
Starting and Running a Music Studio
Hannes Taljaard
some of them will one day contribute their own insights
to our communal fountain of wisdom, and so help other
generations of educators.
1.
2.
3.
4.
5.
6.
Eleven authors produced
The Music Teacher’s
Handbook: the Complete
Resource for all Instrumental
and Singing Teachers
apparently without an editor!
Who needs editors?
The 96 page book, A4 in
paperback, is published
by Faber Music in association
with Trinity Guildhall
(ISBN 0-571-52330-7).
Fourteen short articles are
presented in six parts:
Preparing to teach (three authors)
In the lesson (four authors)
Supporting skills (Nicholas Keyworth, a senior examiner
at TG)
Motivation and practice (three authors)
Ensembles and concerts (Nigel Stubbs, Assistant
Head of Staffordshire Performing Arts)
Your teaching career (Isobel Leibman, Principle of
Havering Music School)
As pointed out by Mark Stringer — Director of Performing
Arts Examinations, Trinity Guildhall — in the
foreword, each author is a specialist in a specific field of
education. Even without reading the foreword, this fact
will become very clear to any reader already on the first
page. The authors write as only experts can: with depth
and inclusiveness, not shunning the old but still presenting
the new, voicing clear opinions without being
dogmatic, presenting stimulating ideas together with
practical observations — even ready made lesson plans.
Potential readers might think that these feats can only
be achieved in heavy tomes, and wonder: “Where will
I ever find the time?” (The unofficial anthem of music
educators, it seems). Thus I rush to add that the shortest
article is two pages and the longest thirteen pages by
Nicholas Keyworth on supporting skills: aural training,
sight reading, music theory, improvisation, compositions
and vocal skills. And even those thirteen pages
are presented as small chomps. Really. Each section of
this article is only two pages of which one page can be
photocopied and used by students. Permission to photocopy?
The world is changing! Keyworth also presents
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

valuable guidelines on examination preparation and
calming the nerves.
Lucinda Mackworth-Young (a consultant in psychology
for musicians, also a concert pianist, teacher,
lecturer and writer) guides us towards an understanding
of the psychology of teaching: pupils, teachers, parents
and the ways they interact. This article is an enticing
invitation to read her book Tuning in: Practical Psychology
for Musicians who are Teaching, Learning and Performing
(ISBN 0-953-94850-1).
Nick Beach (Deputy Director, TG examinations)
contributed articles on planning for success, health
and safety and group teaching, while Philippa Bunting
(Assistant Director (Academic) at the Royal Northern
College of Music in Manchester) wrote on how to get
started with beginners and also on how to integrate the
development of various skills into the instrumental lesson.
Especially the latter would make compelling reading
for all music teachers in South Africa.
Rosie Cross will inspire many readers when she discusses
the teaching of pupils with a learning disability
—mainly those with Down syndrome, autistic spectrum
disorders and dyslexia. Cross is a piano teacher with extensive
experience and provides a must-read list of further
information. Mark Stringer gives tips for practising,
while an Emeritus Fellow of the Trinity College of Music,
Simon Young, argues that coaching advanced pupils requires
the implementation of specialised strategies by
the teacher.
I feel inspired to memorize verbatim the article on
motivational teaching and optimal learning by two
senior consultants of the Optimal Learning Group, Sara
Shaw and Trevor Hawes. Rush to buy their book Effective
Teaching and Learning in the Primary Classroom (ISBN 0-
9533531-0-9).
Music Giveaway #144
All the publications reviewed in this issue of the magazine
can be won by some lucky readers. Remember, we
have more than one copy of most of these publications.
Write down you contact details on the entry form, answer
the easy question correctly and list (in order of
preference) the titles of the publication that you would
like to receive. You also have to fill out the form printed
on the back of this one (page 48). Send both the completed
forms before 27 February 2007 to Music Giveaway
#144, PO Box 20573, Noordbrug 2522
The publications will be distributed to the first correct
entries drawn and the winners will receive their books
by the end of March 2007.
Name:
South African Music Teacher |144 | November 2006
The authors show the way as real mentors do: clearly
pointing to signposts and magnificent views, but never
prescribing the itinerary. One gets the impression that
they can be trusted to give practical information that
will be sorely needed in the field, without demanding
that novices read academic arguments and complex
research reports. It is as if they asked many young educators:
“What do you want and need to know?” before
they wrote their contributions. Each of the very relevant
articles can be read and meditated upon in less than
an hour. Young educators will do well to spend time on
one article each day for one week. After fourteen weeks,
they will know what would have taken them many years
to learn by trails, tribulations and errors. Also sprach
Zarathustra! Our young educators might just find that
starting and running a music studio can be an exciting
and fulfilling journey.
www.fabermusic.com
www.trinitycollege.com
Which instrument(s) do you teach?
Mailing address:
Telephone:
E-mail:
Question: Where is the National Institute of Higher
Education Situated?
Titles (in order of preference)
1.
2.
3.
4.
Well-known and wellloved
South African music
teacher Estelle Stauffer
has condensed fifty years
of teaching experience
into 52 pages. Her A4 spiral-bound
book How to
Learn or Teach Music with
a Smile: a Practical Guidebook
for Parents, Pupils
and Young Teachers can
be purchased from the
author and will be a wonderful
and affordable gift
for any enthusiastic and

aspiring music teacher. The aims of the book is stated
clearly and achieved smoothly: to share experience with
new teachers who works with ‘ordinary’ children and
turn them into extraordinary adults, and to give guidance
to parents and pupils to achieve the best they can.
She writes with humour and a no-nonsense attitude on
getting organized, how pupils differ, which tutors to use,
‘good’ and ‘bad’ music, practising, scales, stage fright and
festivals. Her ideas are presented in short chapters, and
will stimulate reflection. Her valuable advice, tailored
to our South African environment, may prevent young
educators from taking a few unnecessary detours and
ending up in unexpected culs-de sac.
stauffer@lantic.net (018) 468 6806
Philip Johnston’s books have become classics in the
field. Whenever one sees something written about practising,
his The Practice Revolution and Not Until You’ve
Done Your Practice are bound to be mentioned. His website
— www.practicespot.com — is used by millions
around the world, and his studio is considered to be one
of the fastest growing studios ever. When Mr Johnston
writes, people notice and learn. His chatty writing style
is entertaining and fresh, and the way his books are presented
makes them a pleasure to read. He certainly is a
master of persuasion. In these attractive shells one will
find loads of very valuable information.
Two of the students I quote in this review had questions
about advertising. If they read The PracticeSpot
Guide to Promoting Your Teaching Studio (ISBN: 0-958-
19051-8) they will have few questions left. In the introduction
eleven compelling reasons why teachers need
full studios sets the tone for what follows: a cornucopia
of important ideas and strategies to realise these ideas.
After a careful study of the text and some experimentation
with ideas, almost everyone will have a clear grasp
of the basics of marketing as it applies to music studios
New Subscribers #144
Help us to boost our list of subscribers, and to enlarge the membership of the society. We can all contribute to inform
many of those who are involved in music education. Please fill out this form. You do not have to enter four names,
and if you want to nominate more than four people, please photocopy this form and post all your copies to us. (See
address on page 47.) The new subscribers may be determined by way of a lucky draw. Deadline: 27 Febuary 2007.
your name:
parents
name:
postal address:
name:
postal address:
and even other small businesses. This clear grasp will be
very practical, thanks to the writer’s attention to detail
and instructions on how to do promotion. There are
so many useful ideas in the book, and the relations between
ideas are so well presented that I am not brave
enough to attempt a synopsis. The best I can do is to
encourage all educators who are in any way dependent
upon the marketing of their ventures to digest this
book, and pass it on to others.
In the January 2002 issue of SAMT two publications
on music studios were reviewed by Bertha Spies:
The Music Teacher’s Companion: A Practical Guide by
Paul Harris and Richard Crozier (ISBN186096219X)
The Complete Guide to Running a Private Music Studio
by Mimi Butler (ASIN B0006RHU50)
These books are still as relevant and useful as when
they first appeared. During a search on the internet, I
discovered another eight relevant publications:
My Many Hats: Juggling the Diverse Demands of a Music
Teacher by Richard Weymuth (ISBN 0893281972)
Making Each Minute Count: Time-Savers, Tips and Kid-
Tested Strategies for the Music Class by Cheryl Lavender
(ISBN 0793503485)
Transforming Music Education by Estelle Jorgensen
(ISBN 0253215609)
The Private Music Instruction Manual: A Guide for the
Independent Music Educator by Rebecca Osborn (ISBN
1412025311)
How to Make Money Teaching Music: The Music
Teacher’s Manual by Steve Stockmal (ISBN 0970534213)
Making Money Teaching Music by David & Barbara
Newsam (ISBN 1582971560)
How to Make a Living Teaching Guitar (And Other Musical
Instruments) by Guy Lee (ISBN 0974779512)
Making a Living in Your Local Music Market by Dick
Weissman (ISBN 0793595622)
teachers
name:
postal address:
name:
postal address:
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

It was a great joy for me
to play through some of
the pieces in BlueBaroque:
Contemporary Arrangements
of Baroque Keyboard
Classics by Mike Cornick
(ISBN 3-7024-3006-7; UE
21 325). Published by
Universal Edition these
pieces might be exactly what piano pupils need over
the holidays to stay interested and keep practising.
These pieces are tempting me to teach piano again!
Just imagine how stimulating lessons can be if a pupil
first learns either the original or the arrangement. Then
the teacher can very easily integrate different aspects of
music into subsequent lessons.
• aural training: listening to the other version and
noting differences
• theory: trying to understand rhythmic and harmonic
idioms by studying real music
South African Music Teacher |144 | November 2006
r e v i e w s ~ r e s e n s i e s
• history: the pupil can do research on the internet
and try to note and understand some of the stylistic
differences
• improvisation and composition: the pupil can try to
improvise and then make own arrangements
Their pedagogical value aside, a teacher will definitely
score ‘supercool points’ by playing and teaching the updated
version of The Harmonious Blacksmith!
www.universaledition.com
PWM Edition (Polskie Wydawnictwo Muzyczne SA) is
not well-known in South Africa, but deserves to be. In
addition to The Most Beautiful Beethoven — for piano
(ISMN M-2740-0004-2)— they also publish piano music
by Chopin, Lutoslawski, Paderewski and Szymanowksi,
as well as violin, piano and organ music by JS Bach.
Compositions for piano and violin by Wienawski are
also included in their catalogue.
www.pwm.com.pl

An emphasis on performance
Combining a parent’s ignorance and a teacher’s misconceptions can result in
some bizarre ideas about a specific child’s musical development.
‘Why do people
go to recitals?
Partly to be
amazed by
the pole
vaulting,
but also
because they
hope the performer will break their heart.’ (A concert pianist,
London: December 2001)
‘But if my children were encouraged to use their imagination
and intellect, surely it would take them longer
to get through their music grades?’ (A parent, Oxford:
December 2001)
A problem
Performance can be wonderful. But it is also much
misunderstood. The pianist reminds us of the impact
– magic even – of live music performance. He speaks
of western classical music that is played at recitals, but
what he says could apply to almost any music. He is talking
about aspects of performance that come partly from
what a composer has written, and partly from what a
performer has done to bring the writing alive, but his
message could apply also where the performer is the
composer as well, where the music has never been written
down, or where music is improvised by one or more
musicians. A performance can amaze us and move us.
How better to give this to children than by teaching
them to be performers? And students who opt to take
instrumental lessons are saying that they want a taste
of this, a chance to do more performing of a particular
type than they would do otherwise.
The parent reminds us of what can go wrong when the
matter of ‘teaching children to be performers’ is misunderstood.
He sees examination certificates, rather than
performances, as the goal of performance training, and
limits his view of the process that his offspring should go
through accordingly. He sees the instrumental lesson as
something that should help his children assemble what
they need to the standard required by examiners, and
the use of their imagination or intellect as fripperies
that would slow this down. I think that it would also be
safe to say that he sees performance as something that
relates only to western classical music.
My conversation with this parent followed the broad
drift of many conversations with other parents over the
years. On learning that I work in music, the parent had
told me that one of his children was not hurling through
Janet Mills
her grades at quite the dizzying speed of the others because
she spends some of her practice time on improvisation.
What could he, as a parent who is interested in
music but, in his view, not musical, do about this? The
piano teacher had suggested that his daughter was not
as musical as his, more focused, other children — and
had hinted that she should give up lessons — but the
parent would like her to carry on, at least for a while,
even if she was not going to reach the high standards
of her brothers.
As usual in such conversations, I observed that it is
healthy and musical to want to apply one’s new musical
skills imaginatively and intelligently, and that perhaps
the piano teacher could be urged to capitalize on these
strengths of his daughter’s approach. Perhaps the parent
raised this thought with the piano teacher and she
took some action; perhaps he didn’t or she didn’t. Whatever
the outcome, at the time of our conversation, the
parent – and possibly also the piano teacher – shared
some misconceptions about performance and how it is
made. Even within the realm of western classical music,
the re-creation that is performance requires much more
than the ability to play the right notes in the right order.
Performances that are not quite note-perfect may occasionally
be preferred to ones that are, if the trade-off is
a higher degree of expression and communication. Performers
find ways of playing pieces that make sense, and
which communicate much more than a string of notes
to their audience. To do this, they draw on resources
that are not found on the printed score, and which they
develop through intellectual and imaginative engagement
with music, and through experience.
It is never too early to start to develop and build upon
a student’s intellectual and imaginative engagement
with music. When we watch a young child at play with
musical — or sound-making — materials, we can see
that this engagement comes naturally. Children frequently
focus intently as they experiment with different
ways of making sounds, different ways of making different
sounds, different ways of assembling sounds into
patterns of motifs, and as they try to repeat or re-create
sounds, patterns, or motifs that they made earlier. This
natural engagement can be drawn into education, and
developed through composing, listening, and musical
approaches to performing. Instrumental teaching that
is no more than repetitive drill or that consists, in effect,
of a list of instructions to follow, switches it off.
Reproduced from Music in the School by permission
of Oxford University Press (www.oup.com).
ISBN 0-19-322300-7
0 Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

e s o u r c e s ~ b r o n n e
South African Music Teacher |144 | November 2006
ABRSM Publishing
The publishing company of The Associated Board of the Royal Schools of Music publishes material
to be used in all its graded exams. New editions of the Selected Piano Exam Pieces and
Selected Violin Exam Pieces are produced every 2-3 years in line with the relevant syllabus.
Other titles produced in support of the exams include books of scales and sight-reading
practice tests for all instruments and examplar CD recordings of exam set pieces,
as well as theory workbooks (the Music Theory in Practice series). Jazz books and
CDs are available for Piano, Flute, Clarinet, Saxophone, Trumpet and Trombone,
and includes books with jazz tunes and Real Books, and a selection of scales, aural
tests and quick studies books. Repertoire albums are also available — major
works of J S Bach, the piano sonatas of Mozart and Beethoven, and much of the
most popular repertoire of Chopin, Schubert, Brahms and Schumann are available
in first-rate practical editions.
They have a wide range of educational books for use in private study, personal
music development and to help students prepare for exams, such as textbooks,
books on music theory, harmony and form of music, guides and handbooks on subjects as diverse
as jazz, performance practice and teaching, and a series for children on the lives of the
great composers. The catalogue also contains books specifically for teachers.
ABRSM Publishing titles are widely available from music retailers in South Africa. In case of difficulty contact:
r e v i e w s ~ r e s e n s i e s
Universal Edition offers
a series called Children
on Stage — Bühne frei
für Kinder. With these attractive
and fun-filled
arrangements a teacher can turn the ordinary school
concert into a musical delight. All the parts — also the
piano part — are easy, and the instrumentation can
be varied: two melody lines, piano, cello (or double
bass or bassoon) and percussion. Composers included
are Saint-Saëns, Grieg, Mozart, Humperdinck. Janáček,
Tchaikovsky, Mendelssohn Bartholdy and Debussy.
www.universaledition.com
publishing@abrsm.ac.uk
www.abrsmpublishing.com
Another interesting
series for children
by Universal Edition:
World Music
Junior. Richard Graf
has selected some
of the most beautiful
Christmas songs
from around the
world and presented
them in playerfriendly,
easy arrangements.
The lyrics for the
familiar and less familiar songs are included, and the information
on the origins of the songs and the customs
of the of the countries makes this a useful resource for
school teachers. The series includes piano and guitar
solos (in staff notation and tablature), play-along scores
and CDs for flute, violin and saxophone (the pieces in
full as well as backing tracks), and an ensemble anthology
with flexible arrangements and a CD with full versions
and play-along tracks.
www.universaledition.com

WESTERN CAPE
CLAASEN, Clinton J (Univ of Cape Town) Piano
ISAACS, Azra (Univ of Cape Town) Viola
VAN DER MERWE, Charl (Univ of Cape Town) Bassoon
VAN WILLINGH, Monique (Univ of Cape Town) Flute
COOPER, Shane L (Univ of Cape Town) Bass Guitar
DEVY, Shannon K (Univ of Cape Town) Percussion
ENGEL, Christopher R (Univ of Cape Town) Saxophone
GOGWANA, Lwanda (Univ of Cape Town) Trumpet
GONTSANA, Sandile L (Univ of Cape Town) Voice
GUILE, Sebastian (Univ of Cape Town) Drum Kit
CUPIDO, Nigel-George (Univ of Cape Town)
Music Education
MONTSHIWE, Ofentse V (Univ of Cape Town)
Music Education
HOLTZMAN, Glenn G (Univ of Cape Town) Composition
VAN DER LINDE, Byron-Mathieu (Univ of Stellenbosch)
Voice
EASTERN CAPE
BOONZAAIER, Devandré (Nelson Mandela Metropolitan
Univ) Piano
KARFOR, Deidré D (Nelson Mandela Metropolitan Univ)
Piano
MURPHY, Liesel (Nelson Mandela Metropolitan Univ)
Music Education
OLIVIER, Madelie C (Nelson Mandela Metropolitan
Univ) Music Education
REYNOLDS, Jo-Mari (Nelson Mandela Metropolitan
Univ) Music Education
VAPI, Pumelele (Nelson Mandela Metropolitan Univ)
Music Education
WESSELS, Justine J (Nelson Mandela Metropolitan
Univ) Music Education
ACKER, Shaun A (Rhodes University) Composition
FREE STATE
CALITZ, Jean-Pierre (Univ of the Free State) Piano
VAN DORSTEN, Ruan C (Univ of the Free State) Viola
FILMALTER, Magdel (Univ of the Free State) Piano
STASSEN, Louis W (Univ of the Free State) Piano
THOABALA, Serame J (Univ of the Free State) Voice
VAN TONDER, Abraham (Univ of the Free State)
Trumpet
KWAZULU NATAL
BEDFORD, Gregory M (Univ of KwaZulu Natal) Guitar
BULO, Prince S (Univ of KwaZulu Natal) Bass Guitar
MADLALA, Nomthandazo (Univ of KwaZulu Natal)
Voice
SOOBIAH, Renae C (Univ of KwaZulu Natal) Voice
USAGO, Siphesihle L M (Univ of KwaZulu Natal)
Bass Guitar
MADALANI, Mduduzi (Univ of KwaZulu Natal) Piano
BUTHELEZI, Mhalbuhlangene (Univ of KwaZulu Natal)
Music Education
GOLDSTEIN, Martin (Univ of KwaZulu Natal)
Music Education
NGCOBO, Mkhululi (Univ of KwaZulu Natal)
WINNERS OF SAMRO SOUTHERN AFRICAN
MUSIC STUDY BURSARIES 2006
TETO, Nozuko S (Univ of KwaZulu Natal)
Music Education
WILKEN, Mandy L (Univ of KwaZulu Natal)
Music Education
GAUTENG
BUSHAKEVITZ, Ammiel I (Univ of Pretoria) Piano
VAN NIEKERK, Laetitia (Univ of Pretoria) Piano
ROSS, Gareth E (Univ of Pretoria) Piano
MAKHOBOZI, Keharotseng M (Univ of Pretoria)
Music Education
DAVHULA, Mudzunga J (Univ of Pretoria) IAM
APRIL, S G Michael (Tshwane Univ of Tech) Voice
MAKHANYA, Bongani P (Tshwane Univ of Tech) Voice
MASHEGO, Thabo W (Tshwane Univ of Tech) Voice
SEJAKE, Lethibela (Tshwane Univ of Tech) Voice
VERSTER, Jean-Pierre (Tshwane Univ of Tech) Voice
BOOYSEN, Danielle (Tshwane Univ of Tech) Piano
DELPORT, Wynand (Tshwane Univ of Tech) Guitar
LOWMAN, Michael A (Tshwane Univ of Tech) Guitar
NETSHILATA, Rudzani (Tshwane Univ of Tech) Voice
MATHABA, Moleti T (Tshwane Univ of Tech)
Music Education
BUSHAKEVITZ, Avigail Y (Univ of South Africa) Piano
DU TOIT, Stefan N (Univ of South Africa) Piano
HLATSHWAYO, Bhekinkosi (Univ of Witwatersrand)
Trumpet
MONTSITSI, Tlaleng (Univ of Witwatersrand) Voice
LOURENCO, Liroy (Univ of Witwatersrand) Percussion
MAVIMBELA, Thembinkosi J (Univ of Witwatersrand)
Guitar
TRACEY, Kerryn A (Univ of Witwatersrand) Composition
MOELWYN-HUGHES, Ceridwen J (Univ of Witwatersrand)
IAMN
WAMBA, Richard (Univ of Witwatersrand) IAM
TWANI, Zoliswa (Univ of Witwatersrand) IAM
NORTH WEST
BOTHA, Beatrice E (North West Univ) Piano
LONDON, Cornelius (North West Univ) Piano
MOKUKE, Thabo (North West Univ) Voice
SWART, Salomie (North West Univ) Piano
BREYTENBACH, Martha M (North West Univ)
Music Education
HANGULA, Patrick M (North West Univ)
Music Education
MAKAULA, Phiwe N (North West Univ) Music Education
DU PREEZ, Carika (North West Univ) Music Education
VERWEY, Elizabeth (North West Univ) Music Education
LIMPOPO
BALOYI, Lourell L (Univ of Venda for Science & Tech)
Piano
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

n e w s ~ n u u s More OEmF! at Kingsmead College
As music educators we often think: “How the
youngsters of today have changed!” They have
so many demands on their time; are exposed
to such a variety of activities and technology
that music — and learning an instrument in
particular — have become just one of the vast
assortment of things they can do. Haven’t we
all found that, except for a select few, most pupils
we teach practise less and less? It seems
as if in our modern society everything must be
fun. So I decided that we simply have to find
another way for young musicians to have fun
together, and the Orchestra and Ensemble Festival
was born. Even though there are already
several orchestra camps and youth orchestra
groups, all young musicians are not necessarily in a
position to make use of these opportunities. This festival
was designed for senior schools to bring their own
groups to make music for each other.
In 2005 Kingsmead College collaborated with Lovemore
and Yamaha to start an annual festival where
young musicians can focus on music making in groups
and discover what other young people are doing to enjoy
music in ensembles — whether it is an orchestra in
the more traditional sense of the word or a rock band,
SASMT on the Internet
South African Music Teacher |144 | November 2006
Orchestra & Ensemble Festivals 2005 & 2006
marimba band, djembe drumming group; whatever
brings them joy!
It was with absolute delight that I discovered that
even though this was not a competition, the festival ignited
learners with anticipation and gave them the goal
to work harder together to showcase themselves in the
best possible way among their peers. The first festival
was such a success that we organised it again this year.
In 2006 schools from Johannesburg and Pretoria, the Johannesburg
Orchestra Company Wind Band and Youth
Orchestra participated as well as a group which toured
from Pietermaritzburg to be a part of the festival.
Next year, we will definitely do it again. Finding suitable
dates will always be a challenge, because of the
different school terms of the independent and state
schools. However, every effort will be made to ensure
that we find dates that allow musicians from all schools
to participate. If you wish to be a part of this wonderful
event and give your music groups an opportunity
to have their moment on stage with other musicians
of their age, please send me your details to ensure that
you are on the mailing list for the 2007 Festival. Please
contact Elsabé Fourie on efourie@kingsmead.co.za or
leave a voice message on 011-731 7338.
Elsabé Fourie
With the addition of find-a-teacher on the SASMT website, it is now more
important than ever for members to ensure that their contact details
and specifications of instruments and subjects taught are indicated correctly
and completely in the directory list. Visitors to the website can
now search for teachers according to instrument/subject and region.
The search results include the relevant teachers’ names, primary phone
numbers and email-addresses.
The society is steadily moving towards increased electronic communication
methods. Members who do have e-mail facilities are requested to
send their e-mail addresses to for inclusion
in the directory list and the electronic mailing list. http://www.samusicteacher.org.za

SAMRO MUSIC STUDY AWARDS 2007
Each year the SAMRO Endowment for the National Arts offers five different types of awards to encourage
the study of music among citizens of South Africa, Botswana, Lesotho and Swaziland.
OVERSEAS SCHOLARSHIPS 2007 FOR SINGERS
These two Scholarships (one for Western Art/Choral Music, one for Jazz/Popular Music), with a current
value of R160 000 each, plus travel allowance of up to R10 000 each, will be awarded in the third
Quarter of 2007, and are for post-graduate study abroad.
Only applicants who have already obtained a degree or equivalent diploma in music, or who are in
their final year of such degree or equivalent diploma, and who were born after 30 April 1974 can be
considered. Application forms will be available in FEBRUARY 2007.
POST-GRADUATE BURSARIES FOR INDIGENOUS AFRICAN MUSIC STUDY IN SOUTHERN
AFRICA 2007
These Bursaries (available in either the Traditional/Western Art/Choral or Jazz/Popular Music ) will
be awarded in the first quarter of 2007, and are for students who are majoring in the musicological/
ethno-musicological study of African music indigenous to South Africa, Botswana, Lesotho or Swaziland
at post-graduate level (Master’s or Doctor’s degrees) at a recognised statutory institute of tertiary
education in Southern Africa.
Only applicants born after 15 February 1965 who have been officially accepted for any study-year of
such post-graduate courses can be considered. Prospective applicants born before the specified date
may also apply, if they can satisfactorily show that their circumstances warrant special consideration.
Application forms are available.
INTERMEDIATE BURSARIES FOR MUSIC COMPOSITION STUDY IN SOUTHERN AFRICA 2007
These Bursaries (available in both the Western Art/Choral and Jazz/Popular Music) will be awarded in
the first quarter of 2007, and are for students majoring in composition at advanced undergraduate or
post-graduate level, at a recognised statutory institute of tertiary education in Southern Africa. The
Bursaries are for composition study at 3rd, 4th or Honours year level of an undergraduate degree or
equivalent diploma; and for composition study at Master’s or Doctor’s degree level.
Only applicants born after 15 February 1973 who have been officially accepted for such degree or
equivalent diploma courses can be considered. Prospective applicants born before the specified date
may also apply, if they can satisfactorily show that their circumstances warrant special consideration.
Application forms are available.
UNDERGRADUATE BURSARIES FOR MUSIC EDUCATION STUDY IN SOUTHERN AFRICA 2007
These Bursaries (available in both the Western Art/Choral and Jazz/Popular Music) will be awarded in
the first quarter of 2007, and are for students majoring in Music Education or Class Music Teaching at
a recognised statutory institute of tertiary education in Southern Africa. The Bursaries may be held in
any year of study, provided that Music Education or Class Music Teaching is being studied in that year
as a major for degree or equivalent diploma purposes.
Only applicants born after 15 February 1967 who have been officially accepted for the appropriate
year of a suitable degree or equivalent diploma can be considered. Prospective applicants born before
the specified date may also apply, if they can satisfactorily show that their circumstances warrant
special consideration. Application forms are available.
UNDERGRADUATE BURSARIES FOR GENERAL MUSIC STUDY IN SOUTHERN AFRICA 2007
These Bursaries (available in both the Western Art/Choral and Jazz/Popular Music) will be awarded in
the first quarter of 2007, and are for undergraduate study at a recognized statutory institute of tertiary
education in Southern Africa. They are awarded only to students who are beginning their first or
second year of study for a degree or equivalent diploma course in Music in 2007.
Only applicants born after 15 February 1981 who have been officially accepted for such courses can
be considered. Prospective applicants born before the specified date may also apply, if they can satisfactorily
show that their circumstances warrant special consideration. Application forms are available.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

The six volumes of Jazz
Sessions by Faber Music
are the result of a collaboration
between Alexander
L’Estrange (composer, arranger,
jazz double bass
player and jazz examiner
for the ABRSM) and
Tom Pilling (composer,
jazz pianist and teacher).
Each book spans a host
of jazz idioms including
blues, swing, Latin and
gospel. Included in the series are publications for piano,
violin, flute, clarinet, alto saxophone and trumpet
— all with CD backing. The arrangements and compositions
have second, extended versions that are ideal
for improvisation, and are suitable for the intermediate
level (grades 4-5). The pieces are ideal preparation for
the ABRSM jazz exams. Faber also has more jazz music
available for piano (grade 3-6), as well as Progressive
Jazz Studies for flute, clarinet, saxophone, trumpet and
trombone — all for the intermediate level. The Groove
Lab series of pieces with CD for keyboard, flute, clarinet,
alto saxophone and trumpet are for grades 3-4.
www.fabermusic.com
South African Music Teacher |144 | November 2006
r e v i e w s ~ r e s e n s i e s
The Universal Edition
series of “Easy Blue …” for
clarinet, flute, trumpet
and other instruments
contains the first step
to the blues for aspiring
young jazz soloist and
forms the ideal stepping
stone to the more advanced “Blue …” series. James Rae’s
original solo pieces with piano accompaniment serve as
an introduction to this popular genre to players of an
elementary level. Chord symbols are introduced in the
accompaniment to enable the pianist to improvise.
www.universaledition.com

SAMT on the WWW
The covers and the tables of contents of the last fourteen
issues of the magazine (since 1998) can be accessed on
the new website. We hope to add summaries of articles,
and the full texts of the editorial contributions soon,
as well as links to the websites of our advertisers and
other publishers.
http://www.samusicteacher.org.za/magazine/
Music. The Listener’s Art?
In 1992 Kate Covington wrote in the Journal of Music
Theory Pedagogy (vol. 6) about the problems faced by
those who attempt to teach aural training.
Today, those who direct ensembles or teach private
lessons, or who intentionally or accidentally incur the
occupational hazard of teaching aural skills, have
discovered the problems with much current aural
training.
First, most students who do not have a perfect or nearperfect
sense of pitch find ear training at best a dreaded,
necessary evil. For a musician, developing aural acuity
should be a positive experience, and anticipated
class, but how many students view it that way?
Instead, they find it distasteful and teachers are often
forced to incorporate required attendance policies
to make sure that students are even there. Students
may approach these courses with fear that certain
musical weaknesses of ineptitudes will be exposed.
More troubling is that students find aural training to
be irrelevant to their musical needs when they should
be seeing the connections with everything they do
Subscriptions
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as musicians. [...] Aural training should indeed be
directed toward practical, needed skills. Most troubling
to me has been the dilemma that good musicians
sometimes demonstrate a rather low level of aural
ability, as taught and tested with traditional materials.
That seems to imply that either we are teaching the
wrong things or we are not teaching well, certainly not
in a way that is compatible with how students already
perceive and relate to music.
An additional problem is that our approaches to aural
training have been strongly influenced by tradition
as well as by the necessity for grading. The same approaches
and activities are perpetuated from student
to student-who-becomes-a-teacher to student, etc.
The troubles loom larger when we realise that they are
not new. Already in the eleventh century Guido d’Arezzo
designed his kinaesthetic representation of pitches and
his system of solmization in order to improve the inadequate
abilities of his choristers. Ever since, problems
have been mentioned, but not always solved. We hope
that the next two issues of SAMT will inspire readers to
reflect on the aural aspects of our art.
Suid-Afrikaanse Musiek Onderwyser |144 | November 2006

South African Music Teacher |144 | November 2006

Suid-Afrikaanse Musiek Onderwyser |144 | November 2006