12 research outputs found
sj-docx-1-pom-10.1177_03057356221126201 – Supplemental material for Understanding the lived music listening experiences of adults on the autism spectrum
No full textSupplemental material, sj-docx-1-pom-10.1177_03057356221126201 for Understanding the lived music listening experiences of adults on the autism spectrum by Frans Venter, Janelize Morelli and Ewie Erasmus in Psychology of Music</p
sj-docx-3-pom-10.1177_03057356221126201 – Supplemental material for Understanding the lived music listening experiences of adults on the autism spectrum
No full textSupplemental material, sj-docx-3-pom-10.1177_03057356221126201 for Understanding the lived music listening experiences of adults on the autism spectrum by Frans Venter, Janelize Morelli and Ewie Erasmus in Psychology of Music</p
sj-docx-2-pom-10.1177_03057356221126201 – Supplemental material for Understanding the lived music listening experiences of adults on the autism spectrum
No full textSupplemental material, sj-docx-2-pom-10.1177_03057356221126201 for Understanding the lived music listening experiences of adults on the autism spectrum by Frans Venter, Janelize Morelli and Ewie Erasmus in Psychology of Music</p
Understanding the challenges teachers in the Western Cape face teaching the music component of life skills in the intermediate phase
No full textMaster of Arts in Musicology, North-West University, Potchefstroom CampusLife Skills forms part of the curriculum according to the Curriculum and Assessment Policy Statement (CAPS). The purpose of this participatory action research study was to understand the challenges teachers face in the Life Skills classroom when teaching the music component. To understand the challenges teachers face in the Life Skills classroom, I needed to understand the literature regarding these challenges. Since teachers form the foundation of the education system, it is essential for them to be successful in the classroom.
My data were gathered through one face-to-face workshop and also through WhatsApp prompts, voice notes and text messages. The data from the face-to-face workshop and the WhatsApp prompts were transcribed and analysed through dramaturgical coding using Atlas.ti 9. The WhatsApp responses and those of the participants in the face-to-face workshop form the basis of my research.
The results are clear in that policymakers and the Education Department need to consider carefully the challenges teachers face in the classroom and respond to these challenges, at the same time suggesting solutions. The outcome of my analyses is that gaps in the education system need to be bridged and resolved.Master
Sharing vulnerability: A duoethnographic enquiry into the development of digital competencies at a South African university
No full textThe duoethnographic enquiry discussed in this article grapples, in a dialogical way, with our experiences of professional learning while seeking to increase our digital competencies. The process involved happened while we were learning to use Mentimeter, an interactive presentation software. The purpose of this duoethnographic enquiery is not to provide solutions or shortcuts through a sharing of our professional learning journey. Rather we share our experiences in the hope that other higher education (HE) educators will join the conversation and reflect on their digital competencies journey. In this paper, we first present the background followed by a brief discussion of the HeDiCom framework of HE educators’ digital competencies. Then we briefly discuss duoethnography as a method. Our three main findings are presented as conversations, followed by a discussion in which we weave the insights from our conversations into a critical reflection on the applicability of the HeDiCom framework
Sustainable community engagement within the Arts: A conceptual framework
No full textThis conceptual paper explores the complexities of fostering sustainable community engagement within the Arts by developing a theoretically grounded framework informed by the literature and practice. Our engagement with the topic emerged through an iterative process of critical reflection and qualitative document analysis. Rather than offering prescriptive models or fixed outcomes, we present this framework as a contribution to the ongoing dialogue about the role of the Arts in higher education contexts in advancing sustainability. We begin by positioning our work within current debates on community engagement and sustainability, followed by a discussion of the theoretical framing that guided the conceptual development of our argument. The framework is structured on the basis of six interrelated themes – culturally responsive practices, integrated cross-disciplinary collaboration, dynamic impact assessment, synergistic community alliances, systems integration, and reflective practice. We offer these as entry points for further reflection and refinement, particularly for scholars and practitioners navigating the intersection of the Arts, education and sustainable community engagemen
A conceptual framework of the relationship between musicking and Personal and Social Well-being for intermediate phase learners in the South African context
No full textThis article proposes a conceptual framework to understand the relationship between musicking and Personal and Social Well-being for intermediate phase learners. We analysed the intermediate phase life skills Curriculum and Assessment Policy Statement (CAPS) document to create a priori codes. We employed these codes to analyse literature on musicking and well-being. Through this analysis, it became clear that it is possible to apply musicking as a means to teach Personal and Social Well-being outcomes in the intermediate phase life skills CAPS provided teachers view musicking as cultural and moral education. This article presents a conceptual framework resting on nine propositions that need to be addressed if teachers wish to teach personal and social well-being through musicking
Teaching-learning practices and experiences of selected students and staff in the School of Music, North-West University
No full textMA (Music), North-West University, Potchefstroom CampusThis study of teaching-learning practices and experiences of selected students and staff in the School of Music at North-West University took the form of an instrumental case study. Data was gathered by means of personal interviews with ten students and five staff members in the school’s diploma and BA programmes. Two themes emerged, namely processes of musical transmission, and matters related to performance skill, repertoire and aesthetics. The interpretation of these themes was informed by the theory of community of practice. The first theme involves aural and literary musical transmission, with its categories tonic sol-fa and staff notation, rote learning, mass media and community music learning. Aurality is the basis of community musical performance, and aural transmission is also general practice in the School of Music. This is evident in the high incidence of spontaneous rote learning. The mass media furthermore emerged as a common mode of aural transmission. The integration of sol-fa and staff notation is another domain of transmission. This is evident in individual and peer learning strategies, as well as the teaching methods of staff. The second theme involves performance technique, repertoire and aesthetics. Student participants were found to possess prior skills and knowledge, while articulating emerging awareness of scientific approaches, especially in relation to vocal sound production and health. Data on vocal aesthetics in turn involves vibrato and tone colour, which relate to notions of social identity. This study points to the need to expand the interdependence of aural and literate modes of transmission, the integration of staff and sol-fa notation, collaborative learning, the use of mass media platforms and the relationship between differing musical aesthetics.Master
Exploring student experiences of musicing at Friday funk sessions through the lens of critical hope
No full textMMus (Musicology), North-West University, Potchefstroom CampusThis arts-based instrumental case study explores student participation in 'Friday funk sessions' as a site of critical hope in a South African context. The study examines the potential of musical engagement communities, such as 'Friday funk sessions', to stimulate critical hope. This study's premise is inspired by the Brazilian educator Paulo Freire's work. Freire (1970:47) states that the strife for critical hope begins when forms of oppression are acknowledged and resisted. Bozalek et al. (2013:1) describe critical hope as the ability to recognise an appropriate "antidote to conditions of inequality". Students face many struggles in higher music education and experience a lot of disparity (Bozalek & Boughey, 2012:708). According to Freire (1970:47), critical hope takes effect when there is an intentional effort toward finding a resolution for the disparity experienced in higher education. This study is within the transformative paradigm, which challenges the status quo of oppressive, hegemonic systems to bring about change (Mertens et al., 2011:231). Change is achieved through the collaborative as well as participatory nature of musicing. It also explores the shared understanding of the experience that making music together offers (Hirche, 2011:167).
The purpose of this arts-based instrumental case study is to explore the student experiences of musicing at Friday funk sessions through the lens of critical hope. In this study, critical hope is defined as an insight into the possible and appropriate actions needed to address unjust conditions in higher music education.
This study is an instrumental case study (Stake, 2010:20). I was interested in the theoretical framework of critical hope and the Friday funk sessions as a site that would help me facilitate my understanding of critical hope in practice. The instrumental case study used an applied research design. It allowed me to refine an existing framework for critical hope by making it specific to higher music education and its applications within such a context.
Case study allowed me to use an interpretative and theoretical framework to investigate the meaning students ascribe to a social or human problem, social inequality, and other intersecting oppressions in higher education and higher music education (Creswell, 2013:44; Denzin & Lincoln, 2011:3).
For this study, data were collected by conducting semi-structured interviews with five participants selected purposefully through the process of purposive sampling (Merriam & Tisdell, 2016:106; Guest et al., 2006:58). The interviews were transcribed and analysed by a coding method called dramaturgical coding, using ATLAS.ti computer software. Each interview transcript was analysed individually and participant write-ups were formulated from the analysis. The data analysis process resulted in monologues of each of the participants. The monologues served as the arts-based presentation pertinent to the research process.
The results of the study showed that three elements influenced participant attendance in the Friday funk sessions, namely, (1) their relationship with music before tertiary music tuition; (2) a significant moment of conflict; (3) the need for a respite from the conflicts of their tertiary music tuition. Each phase serves as a build-up to a specific and necessary moment where critical hope must develop. The Friday funk sessions were effective because they opened up an opportunity for what Elliot (1995:168) calls a self-other dialogue, wherein participants reveal themselves to one another through music. In this way, the participants could have a dialogue and learn about the problems and struggles they face, the causes of these problems, and a meaningful search for a solution to these problems (Ayers, 2006:88).Master
Understanding the lived music listening experiences of adults on the autism spectrum
No full textThis study focused on the role music listening experiences play in the lives of three South African
adults on the autism spectrum. The purpose of this interpretative phenomenological analysis (IPA)
is to understand the role that music listening plays in the lives of three adults living with autism. IPA
considers three key areas of philosophical knowledge, which include phenomenology, hermeneutics,
and idiography. We, therefore, interpreted the role of music listening for our participants by
highlighting similarities and differences between the participants’ lived experiences. The findings
emerging from this study revealed five superordinate themes explaining the significance of music
listening in the adults’ lives: (1) coping with auditory sensitivity, (2) getting lost in music, (3) music
is a companion, (4) self-regulation, and (5) finding connection. The importance of music for masking
or coping with sensory overload is distinct from the studies conducted to understand the music
listening experiences of neurotypical individuals. It is our hope that the findings of this IPA provide
rich idiographic descriptions of the individual experiences of our participants, thereby humanizing
their music listening experiences
