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

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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
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