bylae a 1970-klasmusieksillabus van kaapland

BYLAE A

1970-KLASMUSIEKSILLABUS VAN KAAPLAND

E321/20/1970

JUNIOR AND SENIOR SECONDARY COURSES

SYLLABUS IN CLASS ~IUSIC

JUNIOR AND SENIOR SECONDARY COURSES: SYLLABUS IN CLASS MUSIC

The attention of principals of high and secondary schools is drawn to the fact that the following syllabus in Class Music will be introduced as from January, 1970.

CLASS MUSIC FOR SECONDARY STANDARDS

INTRODUCTION

The main purpose of this syllabus is to train pupils to enjoy music for its own sake. The greater part of the time available must be spent therefore on music of a practical nature. Theory must be approached through the medium of practical music-making, whether vocal or instrumental.

The value of unaccompanied singing cannot be stressed too strongly.

The changes which take place in a boy's voice make it imperative that special consideration should be given to suitable vocalism for the boys in Standards VI, VII and VIII. It may be profitable to introduce some form of separation, should circumstances necessitate this.

Where overlapping occurs in the requirements set out in the syllabuses for the various standards, it is obvious that the standard during each succeeding year should become progressively more advanced.

When pupils are actively engaged in listening to musical works, attention should be directed to the composer concerned, bis style and period.

The syllabus indicates the field that must be covered in the secondary standards and it serves as a guide to the manner whereby the work may be progressively advanced. It is not the intention that it should be followed slavishly. The interest and degree of progress of individual class-groups must always be taken into account. It is important that class music-making should always be an interesting and enjoyable experience.

STANDARD VI

A. Practical

1. The learning and singing of unison and two-part songs written in the major or minor modes. Songs in languages other than the official languages may also be taught.

3

2. The repertoire should include: folk, patriotic, classical, contemporary and Sacred songs. ("Sacred" means selective Psalms, English Hymns and Gesange.)

N.B.: The songs should be learned, as far as possible, from individual scores and I or wall charts containing both words and music.

3. The following should receive attention, using the songs learned as medium: -

(a) Voice production and breath control, diction and articulation. tone production appropriate to the pupils' age;

(b) signs and terms in music, new rhythmic patterns in songs, and-where necessary-a revision of the values of notes and rests learned in the primary school.

4. Optional: Recorder playing and other work of an instrumental nature, like melodic percussion work (Orff), including part-playing and sight-reading. Instrumental work should be combined with singing wherever possible.

B. Actively Listening to Music

Actively listening to:

(i) simple and suitable vocal music which illustrates the four basic. types of voice-soprano, contralto, tenor, bass; ..

(ii) narrative and/or descriptive music.

STANDARD VII

A. Practical

The work commenced in Standard VI is continued, and accidentals are now included in the new songs learned.

B. Actively Listening to Music .. Actively listening to:

(i) simple and suitable vocal music to illustrate further voice types-mezzo soprano, baritone;

(ii) vocal duets~

4

(iii) woodwind, keyboard and stringed instruments (solo and in ensemble);

(iv) further examples of descriptive music;

(v) well-known classical dance forms (minuet, gavotte, etc.).

STA.t.'IDARD VIII

A. Practical

The work of Standard VII is continued.


Actively listening to :

(i) vocal ensembles, including choral work;

(ii) brass and percussion instruments;

(iii) any combination of instruments associated in ensemble;

(iv) simple binary and ternary forms in order to ensure their recognition.

STANDARDS IX AND X

A. Practical

The work of Standard VIII is continued. Three- and fourpart songs are now included.


Actively listening to:

(i) vocal: art songs and excerpts from Oratorio and Opera;

(ii) instrumental: solo and ensemble;

(iii) orchestral : any ensemble, including full orchestra.

Printed in the Republic of South Africa by CAPE & TRANSVAAL PRINTERS LTD., CAPE TOWN.-B302/11/69/2,000.

BYLAE B

1986-KLASMUSIEKSILLABUS VAN KAAPLAND

JUNIOR EN SENIOR SEKONeRE FASES

PROVINSIALE ADMiiHSTRASIE VAN DIE KAAP DIE GOEIE HOOP

DEPARTEMENT VAN ONDERWYS

JUNIOR SEKONDeRE KURSUS

SILLABUS

VIR

KLASMUSIEK

1986

BU E/016HO75 I

1

JUNluR SEKONDeRE KURSUS: SILLABUS VIR KLASMUSIEK

Die onderstdande sillabus vir Klasmusiek vir die Junior Sekondere Kursus sal vanaf l Januarie 1986 ingevoer word.

JUNIOR SEKONDeRE KURSUS: SILLABUS VIR KLASMUSIEK

l. ALGEMENE DOELSTELLINGS

1.1 Om die leerlinge se bewustheid, waardering en genot van musiek oar 'n wye spektrum te ontwikkel .

1.2 Om die teorie van musiek te onderrig deur middel van praktiese musiekbeoefening, hetsy vokaal of instrumentaal

1.3 Om die gepaste atmosfeer te skep vir musikale belewenisse wat sal uitloop op 'n posi-tiewe houding tot musiek ( Affektiwe gebied)', 'n beter beg rip van musiek ( Kognitiewe gebied) en 'n grater vaardigheid in die vertolking van musiek (Psigomotoriese gebied)

1.4 Om musiek te korreleer met ander kunsvorme en vakke

2. SPESIFIEKE DOELSTELLINGS

2.1 Om die leerlinge se musikale aanleg en musiekbewustheid te ontwikkel deur middel van gepaste tegniese oefeninge, sang en musiekbeluistering

2.2 Om skeppende musiekaktiwiteite by die tegniese werk in te sluit

2.3 Om leerlinge aan so 'n wye verskeidenheid van liederetipes as moontlik bloat te stel, deur gebruik te maak van die agt kategoriee van liedere wat in die sillabus uiteengesit is

2.4 Om die luistervermoe van leerlinge te ontwikkel deur gebruikmaking van plate, bande, films, skuifies, ens., asook die bywoning van musiekuitvoerings

2. 5 Om die leerlinge bewus ta maak van die ontwikkeling van musiek vanaf die Baroktydperk tot die 20ste eeu (in bree trekke)

2.6 Om die onderskeie afdelings van die sillabus met mekaar in verband te being

3./ •.•

3.

3.1

3.1.1

3.1. 2

3.1. 3

3.1. 4

3.1. 5

3. 2

3.3

3. 3.1

3. 3. 2

j. 3. 3

3.4

3. s

3.6

2

DIE GEBRUIK VAN DIE SILLABUS

Die sillabus bescaan uic vyf a£delings

Elemente van musiek

Skeppende akciwiceite

Sang

Beluistering. Hierdie afdeling bied 'n uicgesoekte beluisceringsprogram wat daarop gemik is om:

(a) 'n bree musikale luiscerondervinding te skep

(b) 'n belangstelling in en genoc van musiek te skep

(c) leerl1nge aan musiek bekend te scel - eers deur ce luiscer na vokale werke, wat dan vorder van programmusiek coc die luis~er na abscrakte werke van die grooc komponiste.

Inscrumentale ensemblewerk

Al die afdelings van "die sillabus hou op die een of ander manier verband met mekaar. Die onderwyser behoorc hiera1e onderlinge verwantskap ce beklemcoon.

Die inhoud van die sillabus kan as volg aangebied word:

Onderrig meer as een van die afdelings gedurende elke klasmusiekperiode, bv. oefeninge in ritme en coonhoogte (10 minute) / sang (10 minute) en beluistering (10 minute).

Maak 'n aanpassing na gelang van omstandighede. Dit sal soms nodig wees om 'n hele lesuur net aan skeppende werk of sang of beluistering of instrumentale ensemblewerk te bescee.

Die werklike beplanning van die jaar se werk word aan die klasmus1ekonderwyser oorgelaac.

Die sillabus is so beplan dat daar tyd sal wees vir vaslegging, asook die aanbieding van bykomende en opsionele maceriaal.

L1edere moec deur middel van balknotasie aangeleer word.

Maak gebruik van visuele hulpmiddels (transparance, fotoKop1ee of afgerolde blaaie) vir die beluiscering van atdel1ng 4. Die onderwyser behoort luistervoorbeelde te

·kies wat aspekce van vorm, cematiese idees, ricme, harmonie of inscrum~ntasie, wac verband hou met die werk van die atdel1ngs 1 en 3 1 sal toelig. Let oak op na die spesitieke aspekce wac in die scudiegidse voorgestel word.

3.7/ ..•

3

3.7 uaae woed aanbeveel dat die belangeikste styltydpeeke (Baeok, Klassiek, Romanties, Impeess1onisties en 20ste eeu) met die ncdige klem veeduidelik sal woed vanaf stanaeed 6 tot standeed 10. Being dit in verband met die vooegeskrewe werke.

3. U Undeewyshandleidings en bronneg idse word verskaf om die gewenste benadering aan te dui. Hierbenewens mag die veebeeldingryke onderwyser sy/haae eie idees volg, solank hulle aan die veeeistes van die voorgeskrewe sillabus voldoen.

3.9

3.10

Hierdie sillabus verskaf slegs die minimum materiaal vie mus1ekopvoeding. Dit staan die onderwyser vry om veeryking toe te pas.

Plate en kasette behoort vie die skoal aangekoop te woed uit die jaarlikse toekenning vie oudiovisuele appaeaat.

STANDERD 5/ ...

4

'::iT.!\NDERD 5

l

l. l

l. l. l

l. l. 2

l. l. 3

l. 2

l. 2. l

l. 2. 2

l. 2. 3

ELEMENTE VAN MUSIEK

Ri tme

Enkelvoudige en saamgestelde tyd

Nabootsende en improvisatoriese gebruik van enkelvoudige en saamgestelde ritmes

Gehooropleiding: die ontwikkeling van ritmiese geheue en die herkenning van ritmiese patrone

Toonhoogte

Omvang

Nabootsende en i~provisatoriese gebruik van toonhoogte

Gehooropleiding: die ontwikkeling van melodiese geheue en die herkenning van melodiese patrone

1.3 Gevoelsuiting: dinamiek, artikulasie en tempo

l. 4 Vo rm

l. 4.1 'l'weeledige vorm

1.. 4. 2 Drieledige vorm

2. SKEPPENDE AKTIWITEITE

2. 1 Die klank-omgewing: die aankweek van bewuste luistervermoe

2.2 Melodiese en ritmiese skeppende werk

2.3 Eietydse musiekbeoefening

2.4 Beweg ingsleer; improvisasie en volksdanse

3. SANG

3.1 Stemontwikkeling

3.1.1 Oefeninge vir asemhaling, ontspanning en konsentrasie

3.1.2 ·Oefeninge vir korrekt stemplasing

3. 2/ .••

5

3.2 Repertorium

3~2.1

3.2.2

3. 2. 3

3.2.4

3. 2. 5

3.2.6

3. 2. 7

3 .. 2. 8

Ten minste een lied uit elke kategorie meet aangeleer word

Gewyde musiek

Kanons en meerstemmige liedere

Suid-Afrikaanse liedere:

(a) Tradisioneel

(b} Deur 'n Suid-Afrikaanse komponis

(c) Van etniese groepe

Liedere deur beroemde komponiste

Liedere van ander lande

Liedere uit Musiekblyspele

Liedere wat aansluit by die voorgeskrewe werke vir Beluistering

Opsionele liedere:

(a) Verwerkings

(b} Kampvuur- en samesang

4. BELUISTERING

Klem meet le word op musiek van artistieke gehalte.

Die vdlgende kategoriee word voorgeskryf:

4.1 Vertelling met musiek

4. 2 Beskrywende musiek

4.3 1·1erke wat die instrumente van die orkes illustreer

5. INS'rRUM C:NTALE ENSEMBLE\/ ERK

6./ ...

6

6. VOORGESTELDE BRONNE VIR LIEDERE (Verwys na paragraaf 3.2)

Ti tel

6.1 Gewyde liedere

Thirty Negro Spirituals Spirituals reborn Christmas Carols (Bk.land 2) Suid-Af riKaanse Kersliedere/

South African Christmas Carols

6.2 Kanons

The Oxford Graduated Round Book Graduated Rounds A Book of Rounds Ro·undabout Sing a Round Kanonblichlein

F.A.K. Sangbundel

Meerstemmige liedere

Firsts and Seconds (Bk.l and 2)

Seconds and Thirds

Treble and Bass (Bk.land 2) Oxtord S.A.8. Book (Bk.land 2) Two's company

Sev~n Sea Shanties Mix and Match

Penguin Book of English Madrigals Meerstemminge liedere vir die

hoerskool Volkswysies (tweest.) Sing vrolik saam (driest.) Die Goue Gerf

Unser Liederbuch (Band l) Geselliges Chorbuch (Band l) Klingender Tag Chorbuch flir Mittelschulen Youth Song Book A•Second Youth Song Book

Skrywer

Brown Paget Poston

Whittaker McNaug ht Beggs Wild Wilson Lahusen

Appleby and Fowler

Appleby and Fowler

Whitfield

MaxwellTimmins

Jenkins &

Vi socchi

Heyns en Gouws

Hyman Hyman

Strube Strube

Uitgewer

Oxford Cambridge Penguin

Voortrekkerpers

Ox ford Novello Penguin Oxford Oxford Barenreiter

1221 F.A.K.

Oxford

OxfoC"d

Banks & Son Oxford Schofield &

Sons OxfoC"d Universal

Penguin Nasou

Na sou Na sou S.A. Volkspele-

raad Metzler Barenreiter Merseburger Me rseburger Oxford OxfoC"d

6.3/ •.•

7

6.3 Suid-Afrikaanse liedere

F.A.K. Sangbundel (1979 ed.) Lekkersing Liedjies Die Goue Gerf

Choral folksongs of the Bantu African Songs

6.4 Liedere van beroemde komponiste

The Penguin Book of Lieder The Penguin Book of accom

panied songs Sing Care Away (Bk. l - 4) Twice 16 choral songs for

female voices F.A.K. Sangbundel

6.5 Liedere van ander lande

Thirty folk settings for children

Music of the Hebrew People

Wij willen muziek Volksmelodiee uit Europese

lande The New National Song Book

Canada's Story in Song (Canadian Folk Songs)

Penguin Book of English Folk Song3

Penguin Book of Folk Ballads

6.6 Musiekblyspele, Operettes en Opera

The Sound of Music Fiddler on the Roof Oliver Annie Annie get your gun Goodbye Mr Chips Oklahoma White Horse Inn West Side Story Selections from Gilbert and

Sullivan eg. Pirates of Penzance (modern version)

Opera Song Book Something to Sing (Bk.l and 2)

Rohrbo ugh

Prawer

Wiseman & Northcote

Mendoza &

Rimmer Newman

Heerkens Malan

Fowke & Mills

Williams & Lloyd

Piano Scores

Lethbridge Brace

F.A.K. F.A. K. S.A. Volkspele

raad Chappel African Music

Soc.

Penguin

Penguin Novello Boosey &

Hawkes F.A.K.

Curwen

Hargail Music Press

Muusses Dalro

Boosey &

Hawkes Gage (Toronto)

Penguin

Penguin

Oxford Cambridge

7 ./ •••

8

7. VOORGESKREWE \'IERKE VIR BELUISTERING ( Verwys na Paragraaf 4)


Prokofiev: Pieter en die wolf

7.2 Beskrywende musiek

Tschaikovsky: Saint-Saens:

Neutkraker-suite Karnaval van die diere

7.3 Werke wat die instrumente van die orkes illustreer

Strykers: Houtblasers:

Mozart: Eine kleine Nachtmusik Tschaikovsky: Neutkraker-suite:

Dans van die fluite ·Koperblasers: Mozart: Horingkonsert nr. 3, lste

deel Slagwerk: Saint-Saens: Karnaval van die diere

7.4 Opsionele werke

fl. 1

'3. 1.1

8. 1. 2

8.1. 3

Strykers:

Ko perblasers:

Slagwerk: Algemeen:

ONDERWYSHANDLEIDING

Elemente van musiek

Sarasate: Inleiding en Tarantella op. 43

Strauss, J.: Pizzicato Polka Stravinsky: Pulcinella Suite (sesde

deel) Marse, walse, werke vir blaasorkes Varese: Ionisation Stravinsky: Die Sirkuspolka

Ritme: Die doel is om ritmiese bewustheid, geheue en kennis te ontwikkel.

(a) Gestruktureerde werk: behoort eggo-klap, woordritme patrone, ritmiese patrone uit liedere in te sluit.

(b) Vrye strukturele werk: behoort beweging, ritmiese dramatiserings en improvisasie in te sluit.

(c) Vraag en antwoord patrone; improvisasie van ritmiese rondos; improvisasie van ritmes teen ostinaatpatrone

Gevoelsuiting: Dinamiek sluit in sagter-harder; artikulasie sluit in legato-staccato en frasering; ~ sluit in ritard.-accel. en rubato.

Vorm: Maak gebruik, van liggaams- en/of instrumentale improvisasie, bv. A B vorm kan vertolk word deur by die A-seksie hande te klap en by die B-seksie vingerklap te

gebruik/ •••

8.2

8. 2.1

8.2.2

8.2.3

8.2.4

8.3

9

gebruik. Gebruik oak prente of diagramme om die musiekvorms te verduidelik. Gebruik volksliedere.

Skeppende aktiwiteite

Speletjies en aktiwiteite om gehoorbewustheid te ontwikkel. Kyk in bronnegids na "Hear and Now" en "Ear Cleaning".

Improvisasie: Gebruik vraag en antwoord, rondos , soloimprovisasie met 'n begeleiding, ens. Kyk in bronnegids na "Music for Children" boek 1 en "When words sing".

Maak gebruik van 20ste eeuse komposisietegnieke, bv., grafiese partituurskrywe, klankpatrone, ens. Kyk in bronnegids na "Ear Cleaning", "New sounds in Class", "Creativity and Environment" en "Exploring Sound".

Gebruik die bewegingstegnieke soos uiteengesit deur Laban, e.a. Kyk in bronnegids na "Creative Dance in the Primary School", "Movement Education", "Creative Dance for Boys", "Dance in Elementary Education".

Sang

Stemontwikkeling: Korrekte liggaamshouding, korrekte asemhaling en frasering, ongeforseerde koptoonklanke en duidelike artikulasie. Kyk in bronnegids na "Training of Children's Voices", "Voice Training and Conducting in Schools", "Klasonderrig in Musiek", hoofstukke 2 en 3.

8.4 ~eluistering

8.4.l

8. 4. 2

8.4.3

8.4.4

Voorgestelde hulpmiddels: Transparante, muurkaarte, afgerolde blaaie, partiture, vraelyste, bande, plate kunsillustrasies en letterkunde. Al hierdie hulpmiddels behoort aangewend te word om die Beluisteringsprogram doeltreffend aan te bied.

Gebruik die verhaal as vertrekpunt om die beskrywende kwaliteite van musiek bekend te stel.

Beklemtoon hoe die musiek die verhaal aanvul en tot die atmosfeer bydra.

Gebruik hierdie werke om die besondere kwaliteit, klank en timbre van die instrumente te illustreer. Begin met 'n verteenwoordigende, vol orkesklank. Volg op met die spesif ieke orkesgroepe en daarna individuele instrumente. Gebruik u tyd met die aanbieding van die orkes - liefs een orkesgroep !familie) per kwartaal. Slegs een instrument kan vir 'n gedeelte van 'n les behandel word.

Maak kortliks melding van die vorm van werke wat voorgespeel word en verwys oak na die styltydperk waartoe die werk behoort.

9./ ...

9. BRONNEGIDS

9.1 Algemeen

Keetman, G.

Szonyi, E.

Orff, c. McLachlan, P.

10

Elementaria

Kodaly's principles in practice

Music for Children Book l (Pentatonic)

Klasonderrig in Musiek

9.2 Elemente van Musiek en Skeppende Aktiwiteite

Schaf er, R.M.

Scha.fer, R.M.

Schafer, R.M.

Self, G.

Self, G.

Paynter, J.

Paynter, J.

Paynter, J.

Wishart, T.

Tillman, June

Russel, J.

North, M.

Lofthouse, Peter

Murray, R.L.

9. 3 Sang

Jacques, R.

Carroll, W.

McLachlan, P.

9. 4 Beluistering

Kamien, R.

Bennett, R.

'Newson, K.

When words sing

Ear Cleaning

The new soundscape

New sounds in Class

Make a new sound

Hear and Now

Sound and Silence

All Kinds of Music Bks. l - 4

Creativity and Environment

Exploring Sound

Creative dance in the Primary School

Movement Education, a guide for primary and middle school teachers

Creative dance for Boys

Dance in Elementary Education

Voice training and conducting in schools

The training of children's voices


Music: an appreciation

Enjoying Music Book 3

Listening to Music

STANDERD 6/ ..•

11

STANDERD 6

1

1. 1

1. 1.1

1.1. 2

1.1. 3

1. 2

1. 2.1

1. 2. 2

1. 2. 3

ELEMENTE VAN MUSIEK

Ri tme




Toonhoog te ,

Omvang

Nabootsende en improvisatoriese gebruik van toonhoogte



1. 4 Vo rm

1. 4.1 Tweeledige vorm

1. 4. 2 Drieledige vorm

1. 4. 3 Rondo vorm


2.1 Die klank-omgewing: die aankweek van bewuste luistervermoe

2.2 Melodiese en ritmiese skeppende werk

2.3 Eietydse musiekbeoefening

2.4 Bewegingsleer: improvisasie en volksdanse

3. SANG


3. 1.1 Elasiese oefeninge vir korrekte asembeheer

3. 1. 2 Formele en informele stembou-oefeninge

3.2/ •••

12

Ten m1nste een lied uit elke kategorie moet aangeleer word

3.2.l Gewyde musiek

3. 2. 2 - Kanons en meerstemm1ge liedere

3.2.3 ~u1d-Afrikaanse liedere:

3. 2. 4

3. 2 .• 5

3. 2. 6

3.2.7

3. 2. 8

(a) Tradisioneel

(b) Deur 'n Suid-Afrikaanse komponis


Liedere deur beroemde komponiste

L1edere van ander lande

Liedere uit Musiekblyspele

Liedere wat aansluit by die voorgeskrewe werke vir Beluistering

Opsionele 11edere:

(a) Verwerkings

( b) Kampvuur- en samesang

4. BELuISTERING

Kle~ moet le word op musiek van artistieke gehalte.

Die volgende kategoriee word voorgeskryf:



4.3 Mus1ekblyspele

4.4 Operette (maklike solos en ensembles)

4.5 Operakore (enige gepaste groot koor)

4.6 Musiek van die Meesters

':i. IN STRUM ENTE VAl\l- DIE ORKES

6. OPSIONEEL

los tr umen tale ensemblewer k

13

7. VUORGESTELDE BRONNE VIR LIEDERE (Verwys na paragraaf 3.2)

Ti tel

7.1 Gewyde liedere

Thirty Negro Spirituals Spirituals reborn Christmas Carols (Bk.land 2) Suid-Atrikaanse Kersliedere/


7.2 Kanons

The· Oxford Graduated Round Book Graduated Rounds A Book of Rounds Roundabout Sing a Round KanonbUchlein

F.A.K. Sangbundel


Firsts and Seconds (Bk.land 2)

~~coods and Thirds

·:.:·ret.>le and Bass (Bk.land 2) uxtord S.A.B. Book (Bk.land 2) Two't; company

Seven Sea Shanties Mix and hatch

Penguin BooK of English Madrigals Meerstemminge liedere vir die


Unser Liederbuch (Band 1) Geselliges Chorbuch (Band 1) Klingender Tag Chorbuch fUr Mittelschulen You th Song Book A Second Youth Song Book

Skrywer

Brown Paget Poston

\·Jhi ttaker McNaug ht Beggs Wild Wilson Lahusen

Ui tgewer


Voortrekkerpers

Oxford Novello Penguin Oxford Oxford Barenreiter

1221 F.A.K.

Appleby and Oxford Fowler

Appleby and Oxford Fowler

Whitfield Banks & Son Oxford

Maxwell- Schofield &

Timmins Sons Oxford

Jenkins & Universal Visocchi

Heyns en Gouws

Hyman Hyman

Strube Strube

Penguin Na sou


raad Metzler Barenrei tar Merseburger Me rseburger Oxford Oxford

7. 3/ ...

14



Choral folksongs of the Bantu _African Songs



panied songs Sing care Away (Bk.l - 4) Twice 16 choral songs for







Canada's Story in Song

Penguin Book of English Folk Songs


Rohrbo ugh

Prawer

Wiseman & Northcote

Mendoza & Rimmer

Newman

Heer kens Malan

Fowke &

Mills Williams &

Lloyd



Sullivan eg. Pirates of • Penzance (modern version) Opera Song Book:'-Something to Sing (Bk.land 2)

Piano Scores

Lethbridge Brace

F.A.K. F .A. K. S.A. Volkspele


Soc.

Penguin


Hawkes F.A.K.

Curwen

Hargail Music Press

Muusses Dalro

Boosey & Hawkes

Gage (Toronto)

Penguin

Penguin

Oxford Cambridge

8./ •••

15

tJ. VOORGESKREWE WERKE VIR BELUISTERING ( Verwys na Paragraaf 4)

8.1 Vertell1ng met musiek

Prokofiev: Walt Disney:

Pieter en die wolf (uittreksels) /OF/ The Junge Book, Robin Hood ens.~-


Enige EEN van die volgende:

The ballad of Jimmy Brown (King's Singers weergawe) Barbara Allen Henry Martin Mary Hamilton Die jongeling du Preez (Randall Wicomb) Die koning se dogter (Laurika Rauch)

8.3 Musiekblyspele

Uittreksels uit EEN van die volgende:

You're a good man Charlie Brown Annie Sound of Music The King and I

8.4 Operette


Stolz/ Berna tsky: Strauss, J.: Offenbach: Britten, B.: Britten, B.:

8.5 Operakore:

Enige groot koor, bv.:

Wagner: Verdi: Verdi:

8.6 Musiek van die meesters:

Copland, A.: Mozart, W.A.:

Vaughan-Williams:

Villa-Lobos:

White Horse Inn Die Fledermaus La Belle Helene The little Sweep Let's make an Opera

Pelgrimskoor uit Tannhauser Aambeeldkoor uit Il Trovatore Slawekoor uit Nabucco

Rodeo (Ballet) Konsert vir Hering en orkes nr. 3

(3de deel) Fantasia on a theme of Greensleeves

/OF I Die klein treintjie van die caiprra

8.7 Voorgestelde addisionele werke vir beluistering

8. 7 .1/ •..

e. 7. i

ti. 7. 2

9.

9.l

9. l. l

9. l. 2

9. l. 3

'}. 2

9. 2. l

'1 • .!.. 2

9. 2. 3

9. 2. 4

9.3

9. 3.1

Vertellings met musiek:

Williams,J.: Vangelis: Ligeti: Britten:

16

Star Wars Chariots of Fire 2000 Space Odyssey Noye' s Fl udde

Flanders en Horowitz: Captain Noah and his Floating Zoo

Musiek van die Meesters:

Die towenaar se leerjonge Huweliksdag te Troldhaugen

Dukas Grieg ProK.ofiev: Grieg

Uittreksels uit Liefde van drie Lemoene Noorweegse danse

ONDERWYSHANBLEIDING

Elemente van musiek

Die begrippe van ritme, toonhoogte en gevoe~suiting behoort onderrig te word deur middel van skeppende aktiwitei te, aangeleerde liedere en voorgeskrewe beluistering.

Gevoelsuiting: Dinamiek sluit in sagter-harder: arikulasie sluit in legato-staccato; frasering; temeo sluit in ritard.-accel. en rubato.

Vorm: Tweeledige, drieledige en rondovorm meet bestudeer word socs hul voorkom in skeppende aktiwiteite, aangele2rde liedere en voorgeskrewe beluistering. Gebruik improvisasie, beweging en grafiese voorstelling as hulpmiddels.


Speletjies en aktiwiteite om gehoorbewustheid te ontwi~kel. Kyk na bronnegids, "Hear and Now", "Ear Cleaning".

Improvisasie: Gebruik vraag en antwoord, rondo's, soloimprovisasie met 'n begeleiding, ens. Kyk na bronnegids na "Music for Children" boek l en "When words sing".

Maak gebruik van 20e-eeuse kor.iposisietegnieke, bv. grafiese partituurskrywe, klankpatrone, ens. Kyk in bronnegids na "Ear Cleaning", "New sounds in Class", "Creativicy and Environment", "Exploring Sound".

Gebruik die bewegingstegnieke soos uiteengesit deur Laban, e .a. Kyk in bronneg ids na "Creative Dance in the Primary School", "Movement Educacion", "Creative Dance tor Boys", "Dance in Elementary Education".

Sang

Die waarde van onbegeleide sang kan nie genoeg beklemtoon word n ie. St emverandering by seuns noodsaa k da t spe s iale

aandag I ...

9. 3. 2

9.4

9. 4.1

9.4.2

9. 4. 3

9. 4. 4

9.4.5

9.4.6

9.4.7

9.5

17

aandag aan geskikte stemoefeninge gegee word. Dit mag dus voordelig wees om op hierdie stadium seuns en dogters in aparte klasse te onderrig.

Stemontwikkeling: Korrekte liggaamshouding, korrekte asemhaling en frasering, ongeforseerde koptoonklanke en duidelike artikulasie. Kyk in bronnegids na "The choral conductor's handbook" en "Klasonderrig in Musiek" (hoofstukke 2 en 3).·

Beluistering

Voorgestelde hulpmiddels: Transparante, muurkaarte, afgerolde blaaie, partiture, vraelyste, bande, plate kunsillustrasies en letterkunde. Al hierdie hulpmiddels behoort aangewend te word om die beluisteringsprogram doeltreffend aan te bied.

Illustreer struktuur, temas, vorm, eenvoudige harmonie en styltydperke, ens.

Gebruik vertellings met musiek as uitgangspunt en toon aan hoe die musiek die storie aanvul en uitbrei.

Ballades: Beklemtoon die karakterui tbeelding, stemminge, vertellingskuns en vorm. Dit dien as voorbereiding vir die beluistering van programmusiek.

Gebruik die musiekblysp~l as inleiding tot opera. Verduidelik die vorm en strukture, bv. die sololied (aria), ensemble, koor, ouverture en gesproke dialoog. Sluit. voorbeelde van solos vir sopraan, alt, tenoor en bas in.

Vertel die verhaal. Verwys na verhooginkleding, kostumering, stelontwerp ·en karakteruitbeelding. Gebruik arias om stemtipes te illustreer en sing temas, indien moontlik.

Gebruik die operakoor (greet ensembleklank) as inleiding tot orkesklank.

Laat die leerlinge nou kennis maak met musiek sander 'n geskrewe teks. Moedig leerlinge tot bespreking aan.

Instrumente van die orkes

Dui die instrumente aan socs hulle voorkom in die voorgespeelde werke. Let daarop hoe karakteruitbeelding deur instrumentasie geskied. Gee leiding aan leerlinge hoe om instrumente aan hulle klank uit te ken.

9.6 Opsioneel

Instrumentale ensemblespel. slagwerk, blokfluite, ens.

Melodiese en nie-melodiese

10./ ...

10.

10. l

10.2

. 0. 3

lG.4

BRON NEG IDS

Algemeen

Keetman, G.

Szonyi, E.

Orff, C.

McLachlan, P.

18

Elementaria


Music for Children Book 1 (Pentatonic)


Elemente van Musiek en Skeppende Aktiwiteite

Schafer, R.M.

Schafer, R.M.

Schafer, R.M.

Self, G.

Self, G.

Paynter, J.

Paynter, J.

Paynter, J.

Wishart, T.

Tillman, June

Russel, J.

North, M.

Lofthouse, Peter

Murray, R.L •

Sang

McLachlan, P.

Ehret, W.

Beluistering

Bennett, R.

Bennett, R.

Bennett, R.

Newson, K.

Kami en, R.

Various authors

When words sing

Ear Cleaning

The new soundscape

New sounds in Class

Make a new sound

Hear and Now

Sound and Silence

All Kir.ds of Music Bks. 1 - 4


Exploring Sound






The Choral conductor's handbook

Enjoying Music Book 1, 2 and 3

Enjoying Modern Music

Discovering Music Book 1, 2

Listening to Music


Making music your own

STANDERD 7/ •••

19

STANDERD 7

l

1.1

1.1. l

l ."l. 2

l. l. 3

l. 2

l. 2.1

l. 2. 2

l. 2. 3

ELEMENTE VAN MUSIEK

Ri tme




Toonhoog te

Omvang

Nabootsende en improvisatoriese gebruik van toonhoogte



l. 4 Vo rm

l. 4.1 Tweeledige vorm

l. 4. 2 l.lr ieledige vorm

l. 4. 3 Rondo vorm

l. 4. 4 Terna en Variasie-vorm


2.1 Die Klank-omgewing: die aankweek van bewuste luistervennoe

2.2 Melodiese en ritm1ese skeppende werk

2.3 E1etydse musiekbeoefening

2.4 Bewegingsleer: improvisasie en volksdanse

3. SANG


3.1. l Basiese oefeninge vir korrekte asembeheer

3. l. 2 Formele en informele stembou-oefeninge

3.2/ .•.

20

3.2 Kepeccocium

Ten m1nsce een lied uit elke kategocie moet aangeleer wocd

3. 2.1 Gewyde mus1ek

3. 2. 2 Kanons en meecstemmige liedere

3. 2. 3 Suid-Afrikaanse liedere:

(a) Tcadisioneel

( ll) Deuc 'n Su id-Afr ikaanse komponi s


3.2.4 L1edere deuc beroemde komponiste

3. 2. 5 Liedere van ander lande

3. 2. 6 Liedece uit Musiekblyspele

3. 2. 7 Liedere wat aansluit by die voorgeskrewe werke vir s .. luistecing

3. 2. 8 Opsionele liedere:

(a) Verweckings

(b) Kampvuuc- en samesang

BELUISTERING

Klem moet le word op musiek van artistieke gehalte.

Die volgende kategoriee wocd voorgeskryf:

+.l Vercelling met musiek

4.2 Verhalende liedere/ballades

4.3 Musiekblyspele

-'·'! Balletmusiek

~.5 Musiek van ctie Meesters

5. INSTRUMENT£ VAN DIE ORKES

6. OPS ION EEL

Inscrumentale ensemblewerk

7 ./ •••

21

7. VOOKGESTELDE BRONNE VIR LIEDERE (Verwys na paragraaf 3.2)

Tit.el

7.1 Gewyde liedere

Thirt.y Negro Spirituals Spiric.ual.s reborn Christ.mas Carols (Bk.land 2) Suid-Afrikaanse Kersliedere/

Souc.h African Christmas Carols

7. 2 Kanon.s

The Oxford Graduated Round Book Graduated Rounds A Book of Rounds Roundabout. Sing a Round KanonbUchlein

F.A.K. Sangbundel

Meerstemm1ge liedere

First.s and Seconds (Bk.l and 2)

Seconds and Thirds

Treble and Bass (Bk.land 2) Oxford S.A.B. Book (Bk. l and 2) 'l'wo' s company

Seven Sea Shanties Mix and Match


hoerskool l/olkswysies ( t.weest.) Sing vrolik saam (driest..) Die Goue Gerf

Unser Liederbuch (Band 1) Geselliyes Chorbuch (Band l) Kl1ngender Tag Chorbuch fUr M1ttelschulen Youch Song Book A Second Youth Song Book

Skrywer

Brown Paget Poston

Whittaker McNaug ht Beggs Wild Wilson Lahusen

Appleby and Fowler

Appleby and Fowler

Whitfield

Maxwell-Timmins

Jenkins & Visocchi

Heyns en Gouws

Hyman Hyman

Strube Strube

Ui tgewer


Voortre kkerper s

Oxford Novello Penguin Oxford Ox ford Barenre1ter

1221 F .A.K.

Oxford

Oxford

Banks & Son Oxford Schofield

Sons Oxford Universal

Penguin Na sou


raad Metzler Barenr<?i ter Merseburger Mer seburger Oxford Oxford

7. 3/ .•.

22


F.A.K. Sangbundel (1979 ed.) Lekkersing Liedjies Di e Go ue Ge r f




panied songs Sing Care Away (Bk.l - 4) Twice 16 choral songs for

female voices F.A.K. Sanqbundel









~.6 Musiekblyspele, Operettes en Opera

The Sound of Music Fiddler on the Roof Oliver Annie Annie get your gun Goodbye Mr Chips Oklahoma vlhite Horse Inn I-lest Side Story Selections from Gilbert and


Opera Song 'Book Something to Sing (Bk.l and 2)

Rohrbo ugh

Prawer

Wiseman & Northcote

Mendoza &

Rimmer Newman

Heerkens Malan

Fowke &

Mills Williams &

Lloyd

Piano Scores

Lethbridge Brace

F.A.K. F.A. K. S.A. Volkspele


Soc.

Penguin


Hawkes F.A.K.

Curwen

Hargail Music Press

Muusses Dalro

Boosey & Hawkes

Gage (Toran to)

Penguin

Penguin

Oxford Cambridge

8./ ...

23

8. VOORGESKR~WE WERKE VIR BELUISTERING (Verwys na Paragraaf 4)

8.1 Vertelling met Musiek

The Snow Goose

8.2 Verhalende liedere/ballades

Weill, K.: Mack the Knife

8.3 Musiekblyspele


Rogers en Hammerstein: Bernstein:

Oklahoma West Side Story Chorus. Line

8.4 Balletmusiek

Stravinsky: Petrouchka

EN

Co pl and: Copland:

Appalachian Spring /OF/ Billy the Kid

8.5 Musiek van die Meesters

Bizet: L'Arlesienne Suite (Prelude) Terna en Var.

EN

Rodrigo: Concierto de Aranjuez (kitaar en orkes)

8.6 Voorgestelde addisionele luistermateriaal:

8. 6.1

8. 6._2

8. 6. 3

Verhalende werke: Xenakis: Dr. Zhivago Cosmos

Ballet:

Vangelis: Williams: Deer Hunter

Tchaikovsky: Neutkraker Suite Coppelia/Sylvia Firebird

Delibes: Stravinsky:

Musiek van die Meesters

Chopin: Prokofiev: Tchaikovsky:

Militere Polonaise Polkas/Scherzi 1812 Ouverture

9./ ...

9.

9 .1

9.1. 1

9. 1. 2

9.1. 3

9.2

9. 2.1

9. 2. 2

9. 2. 3

'· 2. 4

9.3

9. 3. 2

24

OND~RWYSHANDLEIDING

Elemente van musiek

Die begrippe van ritme, toonhoogte en gevoelsuiting behoort onderrig te word deur middel van skeppende aktiwitei te, aangeleerde liedere en voorgeskrewe beluistering.

Gevoelsuiting: Dinamiek sluit in sagter-harder; arikulasie sluit in legato-staccato en frasering; tempo sluit in ritard.-accel. en rubato.

Vorm: Tweeledige, drieledige en rondovorm en Terna en Variasies moet bestudeer word soos hul voorkom in skeppende ~ktiwiteite, aangeleerde iiedere en voorgeskrewe beluistering. Gebruik improvisasie, beweging en grafiese voorstelling as hulpmiddels.

Sk~ppende aktiwiteite

Speletjies en aktiwiteite om gehoorbewustheid te ontwikkel. Kyk na bronnegids, "Hear and Now" en "Ear Cleaning".

Improvisasie: Gebruik vraag en antwoord, rondo's, soloimprovisasie met 'n begeleiding, ens. Kyk na bronnegids na "Music for Children" boek 1 en "When words sing".

Maak gebruik van 20e-eeuse komposisietegnieke, bv. grafiese partituurskrywe, klankpatrone, ens. Kyk in bronnegids na "Ear Cleaning", "New sounds in Class", "Creativity and Environment" en "Exploring Sound".

Gebruik die bewegingstegnieke soos uiteengesit deur Laban, e.a. Kyk in bronnegids na "Creative Dance in the Primary School", "Movement Education•, "Creative Dance for Boys" en "Dance in Elementary Education".

Sang

Die waarde van onbegeleide sang kan nie genoeg beklemtoon word nie. Stemverandering by seuns noodsaak dat spesiale aandag aan geskikte stemoefeninge gegee word. Dit mag dus voordelig wees om op hierdie stadium seuns en dogters in aparte klasse te onderrig.

Stemontwikkeling: Korre'kte liggaamshouding, korre'kte asembeheer en frasering, ongeforseerde koptoonklanke en duidelike artikulasie. Kyk in bronnegids na "The choral

conductor's/ .••

9.4

9.4.l

9.4.2

9.4.3

9. 4. 4

9.4.5

9.4.6

9.5

25

conductor's handbook" en "Klasonderrig in Musiek", hoofstukke 2 en 3.

Beluistering

Voorgestelde hulpmiddels: Transparante, muurkaarte, afgerolde blaaie, partiture, vraelyste, bande, plate kunsillustrasies en letterkunde. Al hierdie hulpmiddels behoort aangewend te word om die beluisteringsprogram doeltreffend aan te bied.

Illustreer struktuur, temas, vorm, eenvoudige harmonie en styltydperke, ens.

Gebruik vertellings met musiek as uitgangspunt en toon aan hoe die musiek die storie aanvul en uitbrei.

Ballades: Beklemtoon die karakteruitbeelding, stemminge, vertellingskuns en vorm. Dit dien as voorbereiding vir die beluistering van programmusiek.

Gebruik die musiekblyspel as inleiding tot opera. Verduidelik die vorm en strukture, bv. die sololied (aria), ensemble, koor, ouverture -en gesproke dialoog. Sluit voorbeelde van solos vir sopraan, alt, tenoor en bas in.

Kontrasteer Musiekblyspele (wat gesproke dialoog, toneelspel en dans insluit) met Ballet (waar toneelspel en dans die verhaal moet oordra). Vra moet gestel word oar hoe die atmosfeer, karakteruitbeelding en drama deur die musiek oorgedra word.

Gebruik beskikbare luistergidse.

Instrumente van die orkes

Dui die instrumente aan soos hulle voorkom in die vooryespeelde werke. Let daarop hoe karakteruitbeelding deur instrumentasie geskied. Gee leiding aan leerlinge hoe om instrumente te kan uitken aan hulle klank.

9.6 Opsioneel

Instrumentale ensemblespel. slagwerk, blokfluite, ens.

Melodiese en nie-melodiese

10./ .•.

10.

10.1

BRONNEGIDS

Algemeen

Kee tman, G.

Szonyi, E.

Orff, c. McLachlan, P.

26

Elementaria


Music for Children Book 1 (Pentatonic)



10.3

10.4

Schafer, R.M.

Schafer, R.M.

Schafer, R.M.

Self, G.

Self, G.

Paynter, J.

Paynter, J.

Paynter, J.

Wishart, T.

Tillman, June

Russel, J.

North, M.

Lofthouse, Peter

Murray, R.L.

Sang

McLachlan, P.

Ehret, W.

Beluistering

Bennett., R.

Bennett., R.

Bennett., R.

Newson, K.

Kami en, R.

Various authors

BOE/016H07SI

When words sing

Ear Cleaning

Tfi~ new soundscape

New sounds in Class

Make a new sound

Hear and Now

Sound and Silence

All Kinds of Music Bks. 1 - 4


Exploring Sound






The Choral conductor's handbook

Enjoying Music Book 1, 2 en 3

Enjoying Modern Music

Discovering Music Book 1, 2

List.ening to Music


Making music your own

PROVINSIALE ADMINISTRASIE VAN DIE KAAP DIE GOEIE HOOP

DEPARTEMENT VAN ONDERWYS

SENIOR. SEKONDeRE KURSUS

SILLABUS

VIR

KLASMUSIEK

1986

BO E/018HO 75 I

1

SENIOR SEKONDIRE KURSUS: SILLABUS VIR KLASMUSIEK

Oie onderstaande sillabus vir Klasmusiek vir die Senior Sekondlre Kursus sal vanaf 1 Januarie 1986 ingevoer word.

SENIOR SEKONDIRE KURSUS: SILLABUS VIR KLASMUSIEK

1. ALGEMENE DOELSTELLINGS

1.1 Om die leerlinge se bewustheid, waardering en genot van musiek oor 'n wye spektrum te ontwikkel

1.2 Om die teorie van musiek te onderrig deur middel van praktiese musiekbeoefening, hetsy vokaal of instrumentaal

1.3 Om die gepaste atmosfeer te skep ·vir musikale belewenisse wat sal uitloop op 'n positiewe houding tot musiek (Affektiewe gebied) 1 'n beter begrip van musiek (Kognitiewe gebied) en 'n groter vaardigheid in die vertolking van musiek (Psigomotoriese gebied)

1.4 Om musiek te korreleer met ander kunsvorme en vakke

2. SPESIFIEKE DOELSTELLINGS

2.1 Om die leerlinge se musikale aanleg en musiekbewustheid te ontwikkel deur middel van gepaste tegniese oefeninge, sang en musiekbeluistering

2.2 Om skeppende musiekaktiwiteite by die tegniese werk in te sluit

2.3 Om leerlinge aan so 'n wye verskeidenheid van liederetipes as moontlik bloat te stel, deur gebruik te maak van aie agt kategoriee van liedere wat in die sillabus uiteengesit is

2.4 Om die luistervermoe van leerlinge te ontwikkel deur gebruikmaking van plate, bande, films, skuifies, ens., asook die bywoning van musiekuitvoerings

2.5 Om die leerlinge 'n bree oorsig van die ontwikkeling van musiek vanaf die Baroktydperk tot die 20ste eeu te gee.

2.6 Om die onderskeie afdelings van die sillabus met mekaar in verband te bring

3./ ...

3.

3. l

3. l. 1

3. l. 2

3. l. 3

3. l. 4

3. 1. 5

3. 2

3.3

3. 3. l

3. 3. 2

3. 3. 3

3.4

3. 5

3.6

2

DIE GEBRUIK VAN DIE SIL[,ABUS

Die sillabus bestaan uit vyf afdelings.

Elemente van musiek


Sang

Beluistering. Hierdie afdeling bied 'n uitgesoekte beluisteringsprogram wac daarop gemik is om:

(a) 'n bree musikale luisterondervnding te skep

(b) 'n belangstelling in en genot van musiek te skep

(c) leerlinge aan musiek-bekend te stel - eers deur te luister na vokale werke, wat

0

dan vorder van programmusiek tot die luister na abstrakte werke van die groot komponiste.

Instrumentale ensemblewerk

Al die afdelings van die sillabus hou op die een of and~r manier verband met mekaar. Die onderwyser behoorc hierdie onderlinge verwantskap te beklemtoon.

Die inhoud van die sillabus kan as volg aangebied word:

Onderrig meer as een van die afdelings gedurende elke klasmusiekpericde, bv. oefeninge in ritme en toonhoogte (10 minute), sang (10 minute) en beluistering (10 minute).

Maak 'n aanpassing na gelang van omstandighede. Dit sal soms nodig wees om 'n hele lesuur nee aan skeppende werk of sang of beluistering of instrumnentale ensemblewerk te bescee.

Die werklike beplanning van die jaar se werk word aan die klasmusiekonderwyser oorgelaat.

Die sillabus is so beplan dat daar tyd sal wees vir vaslegging, asook die aanbieding van bykomende en opsionele materiaal.

Liedere moet deur middel van balknotasie aangeleer word.

Maak gebruik van visuele hulpmiddels (trans9arante, fotokopiee of afgerolde blaaie) vir die beluistering van afdeling 4. Die onderwyser behoort luistervoorbeelde te kies wac aspekte van vorm, tematiese idees, ritme, harmonie of instrumentasie, wat verband hou met die werk van die afdeling; l en 3 1 sal toelig. Let ook op na die spesifieke•·aspekte wat in die studiegidse voorgestel word.

3. 7/ •••

3

3.7 Daar word aanbeveel dat die belangrikste styltydperke (barok, Klassiek, Romanties, Impressionisties en 20ste eeu) met die nodige klem verduidelik sal word vanaf standerd 6 tot standerd 10. Bring dit in verband met die voorgeskrewe werke.

3.8 Onderwyshandleidings en bronnegidse word verskaf om die gewenste benadering aan te dui. Hierbenewens mag die verbeeldingryke onderwyser sy/haar eie idees volg, solank hulle aan die vereistes van die voorgeskrewe sillabus voldoen.

3.9

3.10

4.

4.1

4. 1.1

4. !. 2

4.2

4. 2.1

'!. 2. L

4.3

4. 3.1

Hierdie sillabus verskaf slegs die minimum materiaal vir musiekopvoeding. Dit staan die onderwyser vry om verryking toe te pas.

Plate en kasette behoort vir die skool aangekoop te word uit die jaarlikse toekenning vir oudiovisuele apparaat.

STANDERDS 8, 9 EN 10 ONDERWYSHANDLEIDING

Skeppende aktiwiteite (opsioneel - word sterk aanbeveel)

In die Senior Fase skep hierdie afdeling die geleentheid om 20e-eeuse tegnieke socs die twaalftoonsisteem, serialisme, atonaliteit, politonaliteit, toontrosse, a-ritmes en poliritwes, ens., socs vereis ender Beluistering, cekend te- stel. Kyk ender bronnegids na "Sound and Silence", "The new Soundscape" en "Make a new Sound".

Gebruik improvisasie, eietydse musiekbeoefening, beweging, vorm en volksdanse as 'n hulpmiddel tot die ontwikkeling van 'n diskriminerende luistervermoe, asook na skeppende aktiwiteite.

Sang

Die waarde van onbegeleide sang kan nie genoeg beklemtoon word nie. Die stemverandering by seuns noodsaak dat spesiale aandag aan gepaste stemoefeninge gegee sal word. Dit mag dus gerade wees om 'n skeiding van seuns en dogters te he, indien die omstandighede dit neg in standerd 8 vereis.

Stemontwikkeling: korrekte liggaamshouding, korrekte asembeheer en frasering, ongeforseerde koptoonklanke en duidelike artikulasie. Kyk in bronnegids na "The choral conductor's handbook" en "Klasonderrig in musiek" (hoofs t ukke 2 en 3 ) •

Beluistering

Voorgestelde hulpmiddels: Transparante, muurkaarte, afgerolde blaaie, partiture, vraelyste, bande, plate,

kunsillustrasies/ .••

4. 3. 2

4. 3. 3

4.3.4

4.4

4

kunsilluscrasies, letterkunde. Al hierdie hul pniddels behoort aangewend te word om die beluisteringsprogram doeltreffend aan te bied.

Illustreer struktuur, temas, vorm, eenvoudige harmonie en styl tydperke, ens.

Gee 'n beknopte weergawe van die scyleienskappe van elke tydperk.

Daar word aanbeveel dat die 111usiekstyltydperke gekorreleer moet word met argitektuur, kuns, letterkunde en algemene geskiedenis.

Opsioneel

Instrumentale ensemblewerk. Gebruik melodiese en niemelodiese slagwerk, blokfluite en ander instrumente.

5. STANDERDS 8, 9 en 10 BRONNEGIDS

5.1 Algemeen

Keetman, G. Szonyi, E. Orff, C.

McLachlan, P.

Elementaria Kodaly'3 principles in practice Music for Children Book 1 (Pentatonic)

2, 3 en 4 Klasonderrig in Musiek


Schafer, R.M. Schafer, R.M. Schafer, R.M. Self, G. Self, G. Paynter, J. Paynter, J. Paynter, J. Wishart, T. Tillman, June

5. 3 Sang

McLachlan, P. Ehret, W.

5.4 Beluistering

Bennett., R. Bennett, R. Bennett, R. Newson;· K. Kamien, R. Various authors

When words sing Ear Cleaning The new Soundscape New sounds in Class Make a new Sound Hear and Now Sound and Silence All kinds of Music Bks l - 4 Creativity and Environment Exploring sound

Klasonderrig in Musiek The choral conductor's handbook

Enjoying Music Book l, 2 and 3 Enjoying Modern Music Discovering Music Book l, 2 Listening to Music Music: an appreciation Making music your own

STANDERD 8/ .•.

5

STANDt:RD 8

l. ELEMENTE VAN MUSIEK

Vaslegging van die begrippe ritme, toonhoogte en vorm.

2. SKEPPENDE AKTIWITEITE (OPSIONEEL MAAR WORD STERK AANBEVEEL)

Brei uit op die belewing van improvisasie, eietydse musiekbeoefening, beweging, vorm en volksdanse.

3. SANG


Basiese opleiding in korrekte asemhalings- en formele en informele stembouoefeninge

3.2 Repertorium

3. 2. 1

3. 2. 2

3. 2. 3

3. 2. 4

3. 2. 5

3. 2. 6

3. 2. 7

3. 2. 8

Ten minste EEN lied uit elk van die volgende kategoriee meet onderrig word:

Gewyde 1 iedere


Suid-Afrikaanse liedere

(a) Tradisioneel

(b) Van Suid-Afrikaanse komponiste

(c) Van et:niese groepe

Liedere van beroemde komponiste


Liedere uit Operettes en Operas

Liedere wat: verband hou met die voorgeskrewe beluistering.sprogram

Opsioneel

(a) Verwerkings

(b) Liedere vir die kampvuur en vir samesang

4./ •.•

6

4. BELUISTERING

Klem moet gele word op musiek van artistieke gehalte.


4.1 Baroktydperk: Concerto Grosso en Suite

4. 2 Klass ie ke t yd perk: Konsert en Sonate (In bree trekke)

4.3 Romantiese tydperk: Lieder, solo instrumente en orkeswerke

4. 4 Twintigste eeu: Gekose stukke

5. OPSIONEEL


6. VOORGESTELDE BRONNE V!R LIEDERE (Verwys na paragraaf 3.2)

Ti tel

6.1 Gewyde liedere

Thirty Negro Spirituals Spirituals reborn Christmas Carols (Bk.land 2) Suid-Afrikaanse Kersliedere/


6.2 Kanons

The Oxford Graduated Round Book Graduated Rounds A Book of Rounds Rondabout Sing a Round Kanonb lie hlein

F.A.K. Sangbundel



Seconds and Thirds

Treble and Bass (Bk. l and 2) Oxford S.A.B. Book (Bk.l and 2) Two's company

Skrywer

Brown Pagel: Posi:on

Whittaker Mc Naught Beggs Wild Wilson Lahusen

Appleby and Fowler

Appleby and Fowl er

Whitfield

Maxwell-Timmins

Ui tgewer


Voortrekkerpers

Oxford Novello Penguin Ox ford Ox ford Barenrei ter

1221 F .A. K.

Ox ford

Ox ford

Banks Oxford

& Son

Schofield &

Sons

Seven/ •••


7



Unser Liederbuch (Band 1) Geselliges Chorbuch (Band 1) Kling ender Tag Chorbuch filr Mittelschulen Youth Song Book A .Second Youth Song Book


F.A.K. Sangbundel (1979 ed.) Lekkersing Liedjies. Die Goue Gerf.

Choral folksongs of the Bantu. African Songs_



panied songs Sing Care Away (Bk.l - 4) Twice 16 choral songs for









Peng\lin Book of Folk Ballads

Jenkins & Visocchi

Heyns en Gouws

Hyman Hyman

Strube Strube

Rohrbough

Pra wer

Wiseman & Northcote

Mendoza & Rimmer

Newman

Heer kens Malan

Fowke &

Mills Williams &

Lloyd

Oxford Universal

Penguin Na sou


raad Metzler Barenrei ter Merseburger Merseburger Oxford Oxford

F.A.K. F.A.K. S.A. Volkspele


Soc.

Penguin


Hawkes F.A. K.

Curwen

Hargail Music Press

Muusses Dalro

Boosey &


Penguin

Penguin

6. 6/ ...

8

G.6 Musiekblyspele, Operettes en Opera



Opera Song Book Something to Sing (Bk.land 2)

Piano Scores

Lethbridge Brace

Oxford Cambridge

7. VOORGESKREWE BELUISTERING (Verwys na Paragraaf 4)

7.1 Baroktydperk:

Die hele werk of gedeeltes van

Vivaldi: Die Seisoene /OF/ Bach, J. S.: Een van die Brandenburg Konserte

EN

Enige EEN van (hele werk of gedeeltes)

Handel: Handel: Bach, J. S.: Bach, J.S.:

Royal Fireworks Music Water Music Orkessuite no. 3 Een van Partitas (soos gesing deur

Swingle Sangers)

7. 2 Klassieke tydperk:

Uittreksels uit ten minste twee van die volgende:

Haydn: Mozart: Mozart: Mozart:

EN

Beethoven:

Trompetkonsert in E-mol. Horingkonserte Klavierkonserte Klarinetkonsert

Enige sonate vir klavier of viool ens.

7. 3/ ..•

9

7.3 Romant1ese tydperk:

Schubert: Schumann: Liszt:

EN

Wagner:

7.4 Twintigste Eeu:

Der Erlkonig Kinderscenen (uittreksels) /OF/ Liebestraum

Die Rit van die Valkyries

'n Inleiding tot Jazz. Spee! voorbeelde van Scott Joplin, Bessie Smith, Benny Goodman, Dave Brubeck ens. van onderwyser se keuse.

EN

Stravinski: Ebony Concerto /OF/ Gershwin: Rhapsody in Blue-.~

7.5 Voorgestelde addisionele beluisteringsmateriaal:

Baroktydperk: Enige gepaste werk

Klassieke tydperk: C.P. E. Bach: Mazar t:

Romantiese Schubect:

Fluitkonserte Divertimenti

S. le R. Marais: Die Forelle He imwee

P. de Villiers: Chopin: Liszt:

Sewe Boerneefliedjies Kleiner werke Hongaarse Rapsodiee

Twintigste Eeu: Werke van Glen Miller, Billy Halliday, Ella Fitzgerald en Louis Armstrong.

STANDERD 9/ •.•

10

S'.rAL'"D2RD 9

1. ELEMENTE VAN MUSIEK




3. SANG


. 3.2

3. 2.1

3. 2. 2

3. 2. 3

3. 2. 4

3. 2. 5

3. 2. 6

3. 2. 7

3. 2. 8

Basiese opleiding in korrekte asemhalings- en formele en informele stembouoefeninge

Repertorium

Ten minste EEN lied uit elk van die volgende kategoriee moet onderrig word:

Gewyde liedere


Suid-Af rikaanse liedere

(a) Tradisioneel

(b) Van Suid-Afrikaanse komponiste


Liedere van beroemde komponisce


Liedere uit O~erettes en O~eras

Liedere wat verband hou met die voorgeskrewe beluisteringsprogram

Opsioneel

(a) Verwerkings

(b) Liedere vir die kampvuur en vir samesang

4./ ...

11

4. BELUISTERING

Klem moet: geli word op musiek van artistieke gehalte.


4.1 Barokt:ydperk: Orat:orium

4.2 Klassieke ·i:ydperk: _Simfonie

4."3 komant:iese tydperk: Gekose werke

4.4 Impressionist:ies en 20e eeu: Gekose werke

5. OPS ION BEL

Inst:rument:ale ensemblewerk.

o. VOORGEST~LDE BRONNE VIR LIEDER£ (Verwys na paragraaf 3)

Ti tel

6.1 Gewyde liedere

Thirt:y Negro Spirit:uals Spirit:uals reborn Christ:mas Carols (Bk.land 2) Suid-Afrikaanse Kersliedere/

South African Christ:mas Carols

6. 2 Kanons

The Oxford Graduat:ed Round Book Graduat:ed Rounds A Book of Rounds Roundabout Sing a Round Kanonbi.ichlein

F.A.K. Sangbundel

Meerst:emmige liedere

First:s and Seconds (Bk.land 2)

Seconds and Thirds

Treble and Bass (Bk.land 2) Oxford S.A.B. Book (Bk.land 2) Two's company

Skrywer

Brown Paget Poston


Appleby and Fowl er

Appleby and Fowler

Whitfield

MaxwellTimmins

Uitgewer


Voortrekl<erpers

Oxford Novello Penguin Oxford Oxford Barenrei te r

1221 F.A. K.

Ox ford

Oxford


Sons

Seven/ .•.


12


hoerskool Volkswysies (tweest.) Sing vrolik saam (driest.) Die Goue Garf

Unser Liederbuch (Band 1) Geselliges Chorbuch (Band 1) Klingender Tag Chorbuch fur Mittelschulen Youth Song Book A Second Youth Song Book






panied songs Sing Care Away (Bk.1- 4) Twice 16 choral songs for


6.5 Liedere van andet lande







Penguin Bo;k of Folk Ballads

Jenkins & Vi soc chi

Heyns en Gouws

Hyman Hyman

Strube Strube

Rohrboug h

Prawer

Wiseman & Northcote

Mendoza & Rimmer

Newman

Heer kens Malan

Fowke &

Mills Williams &

Lloyd

Oxford Universal

Penguin Na sou


raad Metzler Barenreiter Merseburger Merseburger Oxford Oxford

F.A. K. F.A.K. S.A. Volkspele


Soc.

Penguin


Hawkes F.A.K.

Curwen

Harga.i.l Music Press

Muusses Dalro

Boosey &


Penguin

Penguin

6. 6/ ..•

13

G.6 Musiekblyspele, Operettes en Opera

The Sound of Music Fiddler on the Roof Oliver Annie Annie get your gun Goodbye Mr Chips Oklahoma Whit:e Horse Inn tlest Side Story Select:ions from Gilbert and



Piano Scores

Lethbridge Brace

Oxfor-d Cambridge

7. VOORGESKREWE BELUISTERING (Verwy~ na Paragr-aaf 4)

7.1 Bar:okt:ydperk: Uittreksels uit

Handel: Die Messias

EN

Handel: Judas Maccabeus /OF/ Bach, J.S.: Matteus-Passie /of7 Johannes-Passie

7. 2 Klassieke tydperk: Enige EEN van

Mozart: Mozart:

Simfonie no. 40 "Jupiter" Simfonie

Haydn Een van die laaste twaalf simfoniee.

7.3 Romantiese tydperk:

Beet:hoven: Simfonie no. 7 (uittreksels)

EN

Mendelssohn: Voorspel "Fingal' s Cave" (Hebrides) /OF/

Schubert: "Onvoltooide" simfonie no. 8

7.4 Impressionisties en Twintigste Eeu:

Debussy: Prelude "L'apr-es midi d'un faun"

EN enige EEN van

Orff: Bartek: Varese:

EN

Carmina Burana Allegro Barbaro Ionisation; Poeme electronique

Gershwin/ •••

Gershwin: Bernstein: Sondheim:

14

?orgy and Bess /OF/ West Side Story -;5F/ A little Night MuSTC /OF/ Pacific Overtures

7.5 Voorgestelde addisionele beluistering

Baroktydperk: Bach, J.S.: Moog Synthesizer weergawes

Klassieke tydperk: Schubert: Simfonie no. 5 in B-mol.

Romantiese Bizet: "Carmen" uittreksels Beethoven: Simfoniee no. 5 en .6 Mendelssohn: Vioolkonsert

Impressionisties en Twintigste Eeu:

Ravel, Debussy: Gershwin: Stravinski:

Enige beskikbare werke Drie preludes vir klavier Piano Rag Music

STANDERD 10/ .••

15

STANDERD 10

1. ELEMENTE VAN MUSIEK



3.

3. 1.


SANG

Stemontwikkeling

Basi~s~ opleiding in korrekte asemhalings- en formele en informele stembouoefeninge

3.2 Repertorium

3. 2. l

3. 2. 2

3. 2. 3

3. 2. 4

3. 2. 5

3. 2. 6

3. 2. 7

3. 2. 8

Ten minste ~EN lied uit elk van die volgende kategoriee meet onderrig word:

Gewyde liedel'."e


Suid-Afrikaanse liedere

(a) Tradisioneel

{b) Van Suid-Afrikaanse komponiste

{c) Van etniese groepe

Liedet"e van bet"oemde komponiste

Liedere_van ander lande

Liedere uit Operettes en Opel'."as

Liedere wat verband hou met die voorgeskrewe beluistel'."ingsprogt"am

Opsioneel

(a) Verwet"kings

(b) Liedet"e vir die kampvuur en vir samesang

4./ ...

16

4. BELUISTERING

Klem meet gele word op musiek van artistieke gehalte.


4.1 Die Romantiese tydperk en laat-negentiende eeu.

4.2 Nasionalisme en Impressionisme

4. 3 TWintigste Eeu

4.4 Hedendaagse Musiek

5. OPSIONEEL


6. VOORGESTELDE BRONNE VIR'LIEDERE (Verwys na paragraaf 3)

Ti tel

6.1 Gewyde lie.dere

Thirty Negro Spirituals Spirituals reborn Christmas carols (Bk.land 2) Suid-Afrikaanse Kersliedere/

South African Christmas carols

6. 2 Kanons

The Oxford Graduated Round Book Graduated Rounds A Book of Rounds Rondabout Sing a Round Kanonblichlein

F.A.K. Sangbundel



Seconds and Thirds

Treble and Bass (Bk. l and 2) Oxford S.A.B. Book (Bk.land 2) Two's compq_ny

Skrywer

Brown Paget Poston


Appleby and Fowl er

Appleby and Fowl er

Whitfield

MaxwellTimmins

Ui tgewer


Voortrekkerpers

Oxford Novello Penguin Oxford Oxford Barenrei ter

1221 F.A. K.

Oxford

Ox ford


Sons

Seven/ •••


17


hoeeskool Volkswysies (tweest.} Sing vrolik saam (driest.} Die Goue Gerf

Unsee Liedeebuch (Band 1) Geselliges Choebuch (Band 1) Klingendee Tag Chorbuch fUr Mittelschulen Youth Song Book A- Second Youth song Book


F.A.K. Sangbundel (1979 ed.} Lekkersing Liedjies Die Goue Gerf


6.4 Liedeee van beeoemde komponiste


panied songs Sing Care Away (Bk.l - 4) Twice 16 choeal songs for




Music of the Hebeew People

Wij willen muziek Volksmelodie~ uit Europese


Canada's Stoey in Song (Canadian Folk Songs}

Penguin Book of' English Folk Songs


Jenkins & Visocchi

Heyns en Gouws

Hyman Hyman

Strube Strube

Rohrbough

Pra wee

Wiseman & Northcote

Mendoza & Rimmer

Newman

Heer kens Malan

Fowke & Mills

l"iilliams & Lloyd

Oxford Universal

Penguin Na sou


raad Me tzl ee Bareneeiter Me rseburgee Mersebuegee Oxford Oxford

F.A. K. F.A.K. S.A. Volkspele


Soc.

Penguin


Hawkes F.A.K.

Curwen

Hargail Music Press

Muusses Dalro

Boosey &

Hawkes Gage (Toronto}

Penguin

Penguin

6. 6/ .••

18


1'he Sound of Music Fiddler on the Roof Oliver Annie Annie get your gun Goodbye Mr Chips Oklahoma White Horse Inn West Side Story Selections from Gilbert and



Piano Scores

Lethbridge Brace

Oxford Cambridge

7. VOORGESKREl'IE BELUISTERING (Verwys na Paragraaf 4)

7.1 Romantiese tydperk en laat-negentiende eeu:

Beethoven: Simfonie nr. 9 (Uittreksels en laaste deel)

EN

'n werk van eie keuse

7.2 Nasionalisme en Impressionisme:

Enige werk deur EEN van die volgende nasionale komponiste

Grieg, Smet:ana, Dvorak, Sibelius, Russiese "Vyf" en Spaanse Skool.

EN

Enige werk van Debussy

7. 3 Twintigste Eeu:

Stravinski: Die Ritus van die Lente Schonberg: A Survivor from Warsaw

7.4 Volgens die onderwyser se goeddunke:

Queen: Bohemian Rhapsody (Londense Simfonie-orkes se weergawe)

Jarre: The concerts in China Parsons: Pyramid

7. 5/ •.•

19

7.5 Voorgestelde addisionele beluisteringsmateriaal

Romanties en laat-negentiende eeu:

Holst: The Planets

Impressionisties:

Ravel: Kl av ie-rwerke

Twintigste Eeu en Hedendaags:

BOE/018H07SI

Penderecki: Threnody /OF/ Polymorphia Stockausen: Hymnen

BYLAE C

1991-KLASMUSIEKSILLABUS VAN TRANSVAAL

JUNIOR EN SENIOR SEKONDeRE FASES

DEPARTEMENT

VAN

ONDERWYS EN KULTUUR

ADMINISTRASIE : VOLKSRAAD

TRANSVAALSE ONDERWYSDEPARTEMENT

SILLABUS VIR KLASMUSIEK

STANDERDS 5, 6 EN 7

(JUNIOR SEKONDeRE FASE)

IMPLEMENTERINGSDATUM 1991

KOPIEREG VOORBEHOU

804

SlLL~BCS VlR KUS~.!CSlEK SiA;~OERDS 5. 6 E:l 7

(Jurnor Sekondere Fnse)

I. !~LEJD!NG

i. I ALGDIENE COELSTELLINGS

Die a!gemene doe!sle!lings van l\lasmusiek is daarop geng om aile leerlinge le voorsien van:

l. l.1 oplimale belewing van !dank as die wese van musiek;

1.1.2 ge!eenlhede vir die onlwikkeling van hulle aangebore musikale polensiaal;

1.1.3 molivering. kundighede en vaardighede vir lewenslange a~tiewe belrokkenheid by musiek;

LI .4 die vermoe om musiekkundighede en -vaardighede in nuwe musiekervaringe toe le pas;

l.1.5 'n loenemende insig in en waardering vir hulle eie musikale erfenis en milieu, asook musiek in die ku!tuur van ander;

i. l .6 geleenlhede vir 'Sponlane sosialisering en betrokkenheid by musiekak liwi lei le.

12 S?ESIFIEKE DOELSTELUNGS

1.2. l Om !eerlinge le lei om die volgende musiekvaardighede le onlwikkel: musiekbeluislering en sang, asook

t beweging. inslrumenlale spel. skeppende akliwileile/krealiwileil en nolasie!ees. Hierdie akliwileile impliseer: luisler - uilvoer - komponeer of skep - herskep.- waardeer.

i .2.2 Cm leeriinge le help cr:i mt1siekkundighede le mweri: oor kompor.isle/werke/uilvoerende kunstenaars/musiekgebeuie; aan die hand van onderstaande musiekkonsepte/elemente ·.val aisonderlik. maar ook in samehang mel mekaar. gehcor en onderskei word: loonhoogte en melodie loonduur. ritme. melrum en tempo

- loonkleur/limhre - harmonie en leksluur - vorm en slruktuur - sly! en stemming;

om hulle algemene kennis sodoende uil le hrei en legelykerlyd eie spesifieke helangslellingslerreine aan le spreek.

1.2.3 Om leerlinge vertroud le maak met musikale kundighede en vaardighede. soos genoem in "1.2. l en 1.2.2 aan die hand van kwalileil klankmateriaal uil:

Weslerse kunsmusiek; musiek wal dee! vorm van die leerlinge se helrokke kulluurerfenis (gewyd. sosiaal en lradisioneel); volks- en lradisionele musiek van ander volke; musiek van die leerlinge se eie belrokke milieu.

1.2.4 Om mel behulp van die verworwe kundighede en vaardighede die volgende le onlwikkel:

'n esleliese waardesisleem waarvolgens leerlinge veranlwoordelike keuses Len opsigle van musiek kan maak; hegrip en waardering vir sowel hul eie. as vir ander se musiekkulluur; insig in sowel hul eie as ander se afiekliewe helewing van musiek.

2. KERNLEERlNHOUD VlR STANDERDS 5. 6. EN 7

Temas word in modules verdeel. Beplan die jaar se werk soos volg:

kies EEN module uil elkeen van die agl lemas kies enige verdere SEWE modules hied dus .VYFilEN modules in die loop van die akademiese jaar aan hied elke module verkieslik oor die duur van TWEE lesperiodes aan enige ander loepaslike module(s) wal inskakel onder een of meer van die genoemde lemas. kan as allernalief aangehied word.

_..,

I JUNIOR SEKONDdE FASS (Slancierds 5. o en 7) I , 2. l \lusiekslyle

2.2 Weslerse kunsmusiek

2.3 Volks- en nasionale mus1ek

2.4 lnslrumenlale en vokaie musiek

2.5 Werktipes (genres) en vorme


2.7 Slemmingsmusiek

2.8 Algemene lemas

;_

2. ·1 '-'-

I .,_ 5. 6.

7. 8. 9.

10. 11. 12.

13. 14. 15.

16. 17

18.

19. 20. ?I ~1

22. 23. 24.

).lusiek van die hinligsce eeu I Gewyde musiek Popuiere musiek

\lusiek van die Klassieke tyd:;e:·k Musiek van die Baroklydperk Komponiste en kunslenaars

Volkere in Suid-Mrika Musiek van Afrika Voiksmusiek

Slaginstrumenle Blaasinslrumenle Slrykinslrumeme

Opera Simfonie ABA. Terna en variasie

Vervoermiddele en musiek Programmusiek. insluilende die naluur Seisoene

Geleenlheidsm usiek Humor in musiek Romantiese mus1ek

Beroepe in musiek Konserlsaalelikel Blokkiesraaisel

~'.D.~!<TlESE RIGLY~E

·). BE\>.DERl\G

S:: die aanbieding van Klasmusiek behoorl besondere aandag gegee le word aar.

:~.1 : die te!angril~heid van die wese VG!1 mu~iek. nJam1ik klank. ·.·•at die mtgangspunl ran elke Jes behoorl le wees.

J l.2 ilkliewe belrokkenheid van leerlinge by alle leergebeure. Daarom behocrt die verskillende musiekvaardighede gereeld en flink binne elke lesperiode afgewissel le word.

:31.3 luislersnitte wal aanvanklik 40 lol 60 sekondes duur. Oil kan geleidelik lol 30 lol 126 sekondes uilgebrei word. Dil is raadsaam om klankvooroeelde voorai op le neem volgens die verloop van die lesinhoud.

3. l 4 begeesterde en gereelde samesang wal doelbewus en aklief nagestreef word. 'n Wye repertorium van geskikte liedere behoorl dus opgebou le word.

3.15 die loepassing van nolasievaardighede wat in die primere skoal verweri is.

3. l.6 inrigting van die onderriglokaal om die kenmerke van die ·:~;; le komplemenleer. Ruimle. voldoende silplekke en loepaslike onderwysmedia bevorder eiiekliewe onderrig van die vak.

:31.7 leiding aan leerlinge om musikale werke le kan evalueer volgens die eiesoortige konseple van musiek. Sodoende kan verseker word dal 'n esleliese sensitiwiteil by leerlinge onlwikkel.

3.2 ONDER\'IYS\IEDlA

Ten e!nde die lee;i::houd eiieklief oor le dra. tehoorl die rnlgende onderwysrr:edia le alle lye beskikbaar le wees:

3.2.1 Primere onderwysmedia klanklcerusiing met_ plale/kasselle/laserskywe truprojekler met lransparante skryibord klavier.

3.2.2 Sekondere onderwysmedia bulletinbord musiekprenle en plakkale melodiese en nie-melodiese slaginsirumenle lelevisiemonilor en videomasjien kilaar en/of ander loepaslike inslrumenl(e) skyiieprojektor.

3.3 EVALUER!NG

Evaluering behoorl 'n integrale dee! van elke !es uii le maak om le verseker dal verworwe kennis vasgele word en dal 'n esleliese waardesisleem mel belrekking lol musiek onlwikke! word. Evaluering kan plaasvrnd:

3.3. l in die beginfase van die !es

3.3.2 gedurende die !es

3.3.3 aan die einde van 'n les/lesreeks/module/lema.

4. INHOUD VAN TEMAS EN MODULES

Sien aangehegle werkske.ma.

L

\Vl::Jll\:il\l·:MA

A<L11Vl1llcndc en allcrnal!cwe lwd- c11 l111:stcrm.d1·nat1I k;111 11,1;1s 1\1c \~Crki.: gd)'S iu 111odult·s. gd11111k 1wnl

ll111ir bchoorl op 'n deurlopendc l.i11s1s hcdcrc ;i.111gckcr le 1Vord wal vcrll'cnwoonligc11d 1::1 v,111. gccsl<'hkc volb 1·11 v.Hli.:1 l.111dslwdi:rc Voorl:t'.'ilddl' l1cdl.urndels geskik v1r hierd1e <loci verskyn rn che aaugehegh: bronnelys

3. ll1e spelhng van Rt1ssiese komponislc sc 1wmc h gedocn volgcns crkcn1lc ,1lgcmcen hcskihh•fft' 1111s\;111uhronne lh1· ,1llcru.1lwwe sptllrng v.111 l11L'nlit: name 1word hierondcr gl'lys en kan so gclm1ik ll'ord

'J'clrnikovsky - isjoikobki. Stravinsky - Sln1w111!ili1

Tl\MA - Musieksl vie MOOUJ.B !: Musiek van die Twinliesle ee11

OOEISrELLINGS

Om lecrlinge se algemene kennis wal betrcf legnologie le verbrecd

Om lecrlingc bcwus le maak van die klankkleur en musu:ktegnieke van die Twinligsle eeu

Om lcerliu~e hckcnd le slcl aan die lccfwCreld en komposisics vau 1'winligslc ccusc komponislc

J.UJ~1'P.llllATERIAAI.

Elektronicse musickrekcnaar

inslrumenle:

Harmonie - alonaal/lonaal

si11lcl1secrclcr.

Rilme - onreflmalig en slerk akscnle ~klodie - grool spronge. vermy do Toonkleur - elcklroniese en akoesliese inslrumenlc Vonn - hcrhaling Dinamiek - lerrasdinamick

Vcingclis en die eenman~orkcs Slrnv111sky SrhOnLerg

JJf.DltA'J'f.lllAAJ.

The Music ol COSUOS. Chml11 ~11'.YN

Tht see named Solaris (Vcncrkrng vi.11 "11 J S llal"h ~<11111•0~1c:) Sondanrspootl

Prdoria. Ji1k;1rn11J.i~lad (:t:ll kU:::iil11glm11Jd Hf Hi(:~)

l=or Sll:.1\1NS~)':

VANGDJS.

l'temomlions SurYtVor fron1 WdnwiW A~ilu1 ilCdVCllllnJhell Cl1.1r111bol l'1re

Ile wns bcilUllJul ft;;,~ .. 1111111 (Ill Uoru fr~'C !ti}

JllJ)Al\'J'li':SJ.: lllt:LYNE

Oenndl'ring Jecrlinggcscnl rec rd

llduislcring Groepbesprck1ng Sa11g

On1lcrwysmcdia

Truprojcktor en lrc111sparn11Lc Kassclspclcr en kasscllc

llA1'llll

., 'J'El!A - l!uswksl vie I JllNIOH SF:KONlldll: VASE MODULE 2: Gewy<le 11111siek DOEL'lTF.U.INGS l.f:ElllNllOUD lllllAl(TJf.~r 1u1;1.YNF: IJATllll

I Om ~erunge van the slemming in gewy1le I Stemming - lofprysmg. aanbidding. <lanksl'gging. Bcnadering· lccrlinggcsenlrcerd musick bewus le mauk hdde. vrcugdc. harlsccr

llormonie - v1erslemmighe1d. fl/diglc lcbluur Ucl111::.lcn11g

2. Om leerlinge "" die slyl en 2 S1111g mus1ek11ildn1kkingsmiddelc in gewyde nms1ek Vorm - I rascbou l.uislergids en -vrnclys bewus le. maak 1'empo - jubcl landanle)/gewyd (I.ego)

llinan11ek - hnrd (lofprysing)/sag (aanhiddmg) Groepwcrk '

Toonklcur·- idcnlif1seer 1nsln1menle Ornlerwysmcdia Toonhooglc - hedere flilme - rilmepalronc Trn11rojcklor en lro1nsp;1n.111ll' Slyl - gcwydc mus1ek (Pilasfecs. ll<·me\v,inrl. Kas::;elspcler en kt1sscllc l\t.·1~k-cs. <ms)

1.llJS'l'F.RMATERIAAL IJfllUATERIAAL.

Ludwig van BELTllOYEN· Simfonie nr 9. op125 in d min (Kori.Jal) - Ide Jeugsanglmndel nr '16 (29) dee/ Jeugsangbnndel nr 37 129)

Michao\ CARD The Promise Jeucsanghundel nr 36 129) Coenie DE VllJJERS· Die D11if Die Gcloofsbelydcnis tn 15 dcskilnle (23) Jannie OU TOIT: Uilnodiging Am'1ing Grace 1·13) George f HANDEi.- Mcssias - Ha/Jelllfai·oor God ol onr lalhers 1:15) llookl'd on Classics 3 Ama:ting Grace Andre• U.OYD WEDDER. Requiem - Pie Jesv

n:MA - Mnsicksl vie liOll\11.~ 3. Ponnlcrc nrnsick OOJ·:IS'rEl.l.INC:S

Om lccrlingc sc algemene kennis wal bclrcf leguologie. gcs)<iedenis. geograhe en ekonomic le \'crhrced

Om leerli-nge hcwus le maak van musiekuildrnkkingsmiddele van jazz en popu\ere musiek

:J Om die univcrscle konscplc wal musick nildruk deur die lcerlingc le laal beleef

l.lllSrERllATERIAAL

Dave ORUDECK: Phil COUJNS: lluke EIJJNGTON: !looked on Themes: Scolt JOPIJN: Unda l!ONSTADT:

Unsquare dance .Another day Concerto for Coolie Flush Dance - /flu! a leehil,f Maple l~ar Rag Don 1 know much

I JUNIOll Sl•:l\IJNli<'lll·: FAS!-:

l.~f:l!INllOllll lllll.4K'l'l~:sE IW:l.YNr:

nie onlslaan van j<•ZZ llc1111dcnng· lctThnggcscnlrccnl \)1e 011lslaa11 van pop11111s1ck

Grnc11be~vrck111g llclmslcnug

lhlme - sinkopc. akscnlt:. polssl<1g. hl·1~e~111g. Sung maalslag Mclod1e - ·improv1sasie 0111Jerwys11wtlia llarmonie - 'blues· Toonklcur - lrom1lel. jazzorkes TruprojcUur en lrnnsparanle Vonn - AA UO AA. konlras en hcrhalmg K;1ssl'lspclcr cu l..;1ssclh•

J. Tcmas v;111 die licdcrc lu111tld oor hd1lc. vn•dc. armoctle. oorlog. onlspanniug

l.lf:DMAWUMI.

Yeslerdoy (G!i) Summerlime l4:J) llello Dolly (•13)

111\TllM

q Tf:MA - Weslerse kunsmusiek • JUNIOll SEKONllcllt: l'A~E ~!00\11.E 4: llusiek van die Klassiekc l vdncrk DOEISfELLINCS l.EElllNllOlllJ IJllJAK'l'll·:SE WGl.YNE IJATUM

I. Om leerlinge se algemene kennis wal belrcf die I. Konings en prinse onderhou sckere komponble, Dcna<lcnug lecl'linggesentreerd Klassieke lyd11erk le verbreed klassevcrskille. skildi!ryl.'. ko11serlm11:;1ck

Bcluislcnn~ s.mg

2 Om leerlinge bewus le maak van die loonkleur ~. Style - opera. simfonie. konserl en musieklegnieke van die Klassieke tydperk Melodie - simmelriese lrasebou. vraag en On<lcrwysme1lia.

anlwoord Vorm - sekwense. ADA Truprojektor en transparanlc llarmonie - homofome Kassl'lspelcr en kasselle

3. Om leerlinge beken<l le slcl aan die leefwercl<l 3 Mozart. llay<ln en komposisies van die Klassieke kornponisle

l.Ul!,iERMATERIAAL LIEOMATF.RIAAI,

Franz J llAYDN: Simfonie nr 94 (Verrassing/Pt111kenschlag) - .?de Kom leulc. liewc lc11le (20} dee/ Cockles and Uusscls (50)

Wolfgang A llOZART: Die Towerfluil (Die ZauberfiOle) K620 - Aria. K0t1i411il YID rife 03§

Klavicrkonserl nr 21. K467 - ..?Je dee/ Konserl vir lluil en harp K299 - Isle dee/ Simfonic nr 40. K550 in g min - Isle dee/

IC.

TF.MA - Wcslcrsc kunsmusick JUNIOR SEKON!ld!I\ f'AoE: MOOUl.F. 5: Musick van die Baroklvdncrk OOEISfEUJNGS 1.EERINllOUD OllJAKT!f::if: m1:t.YNf:

Om leerlinge se algemene kennis wal belref die Baroklydperk le verbrecd

lnslrumente (orrel. luil. klawesimbcl). skilJcryc. Ocnadcring· l1:crli11ggcsc11lrccrd beeldhouwerke. kaledra\c en plllcise. kcrkmus1ck

2. Om lccrlinge bewus le maak van die looukleur 2. Harmonie - lonaal. hasso conh11110 en musieklecnieke van die Oarokly<lpcrk llilmc - rcClmalig md voortsluwl'mh· ha!!

"clodic - sekwr.nsc Toonkleur - concerlo grosso Vorm - Cuga. naboolsmg. ko11lra111ml Dinamiek - lerrasdinauuck

3. Om leerlinge hekcnd le slel aan die leefwereld 3. Vivaldi. llach. llamlcl en komposisics van Oarokkomponisle

LU!Sl'l:llMATEmML

Johann S UACll:

George F llAN0e1,:

Jesus. bron van al my vrcugtlc (Jc~u. Mcibcl mcine Frcutlc} Suilc nr 3 in D maj - /lfstl> op die C-sna.~r f,/tr on Ille Cs/n11.;'1

Gc"1ng 201 (·17) Gesang 133 (47) Gesang 314 (47) Oom1 nohis 11ate111 (~O) Wad1cl auf (:J~)

Ucluislcnng S1111g

011dcnvy::;111cth,1

TrnproJcklor ru l1 t1nspManlc Kassels1>clcr cu kasscllc

Mcssias (Messiah) - H.1/le(ui1!.{)(}r Uillrcksels uil enige orrclkonscrl Emge gcwytle liccl 1lc11r J !:i Oiith gckompouccr

.-\nlonm VIVALDI:

Salomo (Solomon) - .·"1n/ioms 1'rJ11 die AUn1i1J•1D v.m Sie/J.J Kooser\ vir luil en mautlolicn Ilic Vier Jaargclyc (1.c quallro slagioni) Uitlrekscls uil cnige blokrluilko11scrl

OA'l'lal

II

•n:MA - Wcslcrse kunsmusiek JlJNIO!l S~:KONlldU•: llASI•: MODULE 6: Komnonislc en kunslenaars DOE!SfELLlNGS LEERINllOUO DlllAKTIESE RIGLYNE OATUM

I. Om leerlinge bekend le slel aan sommige van I. Dach. Llozarl. Dcclhoven. Verdi en J Slrauss llcnadcring: lccrlinggcscnlrecrd die bekendsle komponisle

Behuslcring 2. Om leerlinge bekend le slel aan enkcle bekende 2. Pianbte. violiste. dirigenle. sangers Sa11g

uilvoercnde kunslcnaars l.11i:i:lerg1cls en -vmclys

3. Om leerlinge 11erlroud le maak mel die J. Slyllydperke - Klassick. Ucarok. lfo1m.inlics Onclcrwy:i:utcilia lcerwereld van komponislc en kunslenaars Verwys "' kleredrag. behuisiog. vcrvocr en

komm1111ikasie l'n1prcij1~klor en !iiln~paranlc l\asscls1H?ler en kasscllc

l.11!5TEr<MAn:RIAAI, l.IEllUATt:lllMI.

Johann S OACJI: Uillreksels uil enige konscrL koor- ot Geel Ma<lelielies H tl orrelwcrk lfalerblouuneljies (60)

Ludwig "n OEETIJOVEN· Uillreksels uil enige klavicrsonalc. konscrl of Dis 'n Jan<l (42) simfonie Sewe sakke snul (·1l)

Wo/lgang A MOZART. Uitlreksels uil enige opera. simfonie of konserl New York (JO) Johann STRAUSS II. Uiltreksels uil enige wals of opewltc The Young ones {H) Giuseppe V~Rlll: Uillreksels uil enige opera

1..l.

TEMA - Volks- en nasionole mnsick .llJNIO[f ::if:KONlklif: f'Aol·: llOOlJl.E 7. Volkcre in Sni<l-Afrik• OOF.ISfELl.INGS LEERINIJOUO

0111 leerlinge se algemene keflnis van volkere in Volkcre in Suid-Afrika: hyvoorhccld lli1h.mr.rs. Suid-Arrilia le vcrbrced Jode. \Yiilliscrs

2. 0111 nmsickuildrukkingsmiddele in volksmusick Z. llarmonie - t1kkoonlvera111lcriuc in lic1li:rc aan lcerlinge bekend le slcl Vonn - vorm van volksdanse. asook ka1Joll

Tempo - vinnig/sladig Dinam1ek - hard/sag Toonklcur - hcgele1d111gs111slr11111cnlc 1w;1I hy volkere rms Toonaard - majcur/mincur Rilme - ntmiese palroue uil lictlcrc Slyl - opera-. vo\ks-. kh1£Sicke m11s1ck

3 Om lccrlmge scnsilicf vir die musiek en kullurc GcOnuk 11111s1ck w;1l c1c 1s ;11111 •;1·~1·rc van amler volkcre le maak volksgroepc

J.Ul~1'ERMATt.RIAAL

f'ri<la IJOCCARA: Gcorcc GEllSllWIN IAMUAIJA: Mikis TllEOIJORAKIS

Ohc-o-ohc Rhapsody in Uluc Ka om a Zorba se <fons

llclla Dimba (39) ~halom Cli;1vcri111 (:\!!) The Ash Grove (:J!I) Sizrnyom (27) lluv11h NiLgil,1h (:IH)

lllll1\l\'11E:il·: l<IGl.YNf:

lk•n111lcn11g lccrlingg<'scntrcenl

luvulv;inlmslcrvr;wlys llc1rc~ing Silillll 111d volk~mus1tk Dclmslcnng Sang Oepa<1I vorm van licdcre

0111krwysmctht1

Trupro1cklor en ln111spara11lc Knsselspclcr en kasscllc Skyflc11rn1d.lor cu skyhcs f1rculc v;m 111slr1111w11lt•

\\'e1cldk.1111I

n:MA - Volks- en nasionale musiek MODULE 8: l111siek van Arrika DOf.ISfELl.INGS

Orn leerli11ge se algemene kennis van die lradisics. gcwoonles en kulluur van swart Afrikaslamme le verbreed

2. Om lecrlinge bekend le slel aan die vcrskillende slylkenmerke en loonkleure van Afr1kamusick

l.lllSTE!lllATERIAAI.

lpi Tombi - fem.1/J'ed

I 3

JUNIOR s~:KONlld<I·: FASf:

1.W<INlllllllJ

t'unksionclc rol van 11111siek in die kulluur Vim

Afrikaslamme Gewoonlcs. riluelc en Lradisies waarhy musiek 'n rot speel

Melodie·- oslinanlpatrone Uelrum - slerk polsslag Toonklcur - aerofone (bl.ias111sln1111enll'). kordofo11e (s11a.iri11slrumenle) Vorm - AD

LIEOllATEl!IAAL

Uillrcksels ml klankopnames van inhecmsc blaas- en snaarinslrumcnle (lh1gh Trace~·)

l~lhanini (27) Alangwane. Pulcle (I) Uaytsckili (5·1) Saloni (3U)

IJIUAKTl~SI:: RIC:LYNE

Oenadcnng lcerlingg1:scnlrccrcl

Uchuslcring Sang lnslnuncnlale spel l.uislervraelys Ueweging: Xhosa slcwddans

Om.lcrw~·smcdia

TruproJcklor en lrnosparaute Kasselspclcr en k.1s::iclle Viclcoprogram oor Afnk.111111sick Orlf-inslr11111c11le Tuisgemaakle iuslr11111cnlc (byvoorhccld riel(hulc. bol\cls 111clwaler.kilurc)

DATUlt

14-

Ti''.MA - Volks- en nasionalc music!< HINIOH ol·:JiONlk!U: FAS~: MODllLE 9. Volksmnsiel< llOEJ 51'ELl.INGS LEl~l<INllOUO Jllll,\K'l'll:SI·: HICLYNI\ llATllll

I. Om leerlingc hckentl le slcl aan die volks- cu I ~lusick uil slt1mli111dc. Noon I en Sui1I A1111:riko. lkn.ulerin:!. \ecrl111~grsculrc1•rd 11;1sio11alc musick van verskillende volkc Alrika

lldui:slcring 2 0111 leerlince bewus le maak van die 2 llarmonie - yl/d1glc lck$Luur Sang

m11siekuildrukki1Jgsmi<ldele van verskillende Vorm - herhttling/konlras \.111slcrgidsc en -vrnelys kullure Tempo. rilme. <linamiek. loonkleur t'n 111dod1e

Ondcrwy:mieclw

Trn1lrojeklm en lransp.:irnnle Kasselspelcr en kassclle

1.u1sn:rmATERIAAL LIEDMA1WIAAL

Llusickvideos: Musick van Alrika (Oorelle Vermeulen) OKVO l.angs Coelzenhurg vloci 'n wall'rslroom 120) Discovering lhc music of l.alin America Die ou Kalohari ( 17)

Uiltrrkscls uil klankopnames van volkslicdcrc of volksmusick van De Zilvcrvlool (20) vers~illcnde landc Jlavah Nagiloh (3U)

Jamaica fill·cwell (G.'"1) ~lm1go W .. Jk (fi;1)

,~

TEMA - lnslrumenlale en vokale musiek JUNIOR SEKONUel!K FASE MODULE 10: Slaeinslrumcnle DOEISrELLINGS l.Er.RINllOUD DlllAKTIESE l!IGl.YNE DATU~!

I. Om leerlinge van die gebruik von I. [; klem op musiek woarin sloginslrumenlc Dcnadcring· leerhngcescnlreerd slaginslrumenle in musiek bewus le maak gebruik word· sl .. klokKies. limpani. driehoek.

simbaal. baslrom. snaarlrom. xilofoon Deluislering Sang

2 Om leerlinge na11 musiekuildrukkingsrmddele. 2 Harmonie - olonanl/lonaal l.uislergidse en -vraelys wnl in mus1ek gebruik word. bekend le slel Vorm - lterhaling G1oepwerk

Tempo - largo/presto lnslr111nc11\;1lc spcl (ook ()inamiek - crescendo/decrcscemk> selfgerm1akle inslrt1menle) Toonkleur - slaginsln11nc11lc Rilme - 'swmg' Ondcrwysmcdia Slyl - jazz. klassieke. popu\Crr musiek

Tru11rojcklor en lranspnranle 3. Om leerli1Jge van die gcnol van inslrumenlalc J lnslrmncnlale samcspcl - Hock urnuml Ilic duck Kasscli:;1>elcr cu k;1ssdlc

Spcl bewus le maak Sli1ginslrumcntc

LUIST~l!MATBRIAAI. IJEDMATElllAAL

De11jami11 BRITIEN: A young Person's Guide lo lhc Orchcslra - llmlaan (60) Sli1tfwerfr4rf,w"e Ek lewe (42)

George r llANDEL· nic Koninklikc Vuurwcrk Suilc - J/cnuel Oic Spender (G) ferencc(franz) USZT: llo11gaarse Rapsodie nr 2 Downtown (67) Wollcong A ~IOZART. Duilsc Dansc - S/eenl Rock around lhc dock (20) Camille SAIN'f - SAcNS: Die Oicrekarnaval (Carnaval des A11imau1t) -

f'ossiele

1l:MA - lnslnnnenlale en voknle musiek MOlllllJ: 11: Ulansinslnnnenle IJOW>iEl.l.INGS

Om leerlinge bcwus le maak van die verskillende blaasinslrumenle

'" .l\INI011 ol·:KONllc:HE l"ASI·:

l.Ef:RINllOIJll

lloulblatts - fluil. klarincl Koperb\;ias - lrompcl. lromboon. t'r;111sc hormg Sjiccllcg1uekc t.londslukke. kleppc en veulil•le

Om lcerlinge beken<le komposisies vir 2. lloul- en ko11erbla<1si11sln11ncnlc blt1asi11sln11nenle le laal ervaar en le leer kcu

1.Ul51'f:RMATt:IUAAL

Feli>: MENDEl.SSOJIN 'n Somcrnagsdroom (A Midsummer Nighl's Dream) Tokk•I jou kilaar ('II)

lllDAllllt.O't: l<IGl.YNI·:

llc11a1lcl"i11~ lcerli11ggr.sc11lrccrd

Ucluislcnng Pas prenlc v.i11 111sl1u111e11lc hy to1111kleur l.mslergu.lse co vrnl'lys

011tlcrwys111cdia

TruproJci..lor en lrnnsp;ir1111lc Kassclspclcr en k11s:wllc

op61 - 1Voilurne Gioarchino A ROSSINI: Uillreksels uil enige ouvcrlurc

IJcllringer. 1>ray give us some peace (2~) ~tusic ts fun (:!:!)

Richard WAGNER: Tannhauscr - Ou.-erlure Uillrcksels uil konserle vir houl- en koperblaasinslrumcnlc deur verskillem1e kompomsle Uillrcksels ml Jauopnames van Denny Goodman en l.()l1is Armslrong Uillrcksels uil klankopnamcs van Gheorghc Zamfir (p11~f1111l) en J;unes Galway (fhul)

\then lhe stunts go 111;1rdm1i: 111 (65)

DATUM

17

TEMA - lnslrumenlale en vokale musiek JUNIOR SEKONllel<I\ ~'ASE MODULE 12: Slrvkinslrumenle DOEl.5TEl.l.INGS 1.EERINllOUll OIOAKTIESF. RIGl.YNI\ OA'fllM

I. Om leerlinge bekend le slel aan die verskillende I. Toonkleur: 'viool. allviool. ljello. konlrabas Ocnadering: lecrlinggesenlreerd slrykinslrumenle Dinamiek: hard. sag. harder. sagler

Tcksluur: solo. slrykkwarlel. orkes van Klassieke Groepbe::;preking lydperk Oeiui:>lcrmg

Sang 2. Om leerlinge bewus le maak van die leefwfreld 2 Die !ewe en werk van Mozart met spesificke Skylies

van komponisle verwysing na die ko111posisies vir slryhrs Onderwysmedia.

3. Om lcerlinge bewus le maak van die J. Oegelcidings- en solo-inslrumenl funksionalileil en geleenlhede waar die Bcspelingsgeleenlhcde (kerk. Jans. konscrbt1i1I) TruproJeklor en lran~paranle inslrumenle Uespeel word Kasselspelcr en kassclle

Skyfirprojeklor en skyfierceks oor slrykrrs {TOO-Mcd1adic11s)

LUl51'f.RMATF:RIAAI, l.IEDMA'l'El<IAAL

Johann S OACll: Suite nr 3 in 0 maj - (YJ:tt> op die C -sna.ir (dir Pu11pel on a slriug (ll)

The DEATI£s: un /he C slni;f) llemory (9) Yeslerday Yeslerday (65)

Andrew U.OYO WEDDER: Variasies 1-4 Wolfgang A MOZART: Simlonie nr 40. K550 - Isle dee/

Einc kleine Nachlmusik K525 - eOJje dee/ Uillreksels uil enige slrykkwarlcl

Jacques OffE~OACll: Die verholc van lloUmann (I.cs Conlcs d' llollmann) - //qq//ied (/Jarcaro/le)

1i

'l'tUA - Werklines -r.;enres) en vorme I JUNIOI( st:KONll<'i(J; t'Aol: MOlllllE 13: Oucra DOEl.)"fEIJJNGS l.Et:l!INllOllll

I. Oin lmli111e &110 die 1l1cmc:ne kenmeth 111n optt• ('n 1RUS1ekslom:) H rne-•ubale kommunikosiemlddd bekend le

I. 0pel'1fl- l'flopc:naverwanlcmusick Optroproc,rum Algcmc:nc:lenn~rkcvan'noprra.

otl<es/koor/d1n¢cnl/solo-rollefhelclc11 bddm) stone - kuimes/cr11sli1

"" •ourdc-llbrcllo dckor en ku~luums

i. Om die mnmkmldrukt11ntsm1dd.!lc in opc:ramus1ck nan 2 Uormomc - yl/1li1tlc: tekslm1r \t'\•1hngc Lckeml le sic! 'lorm - frn~lnikhmr

Tcmpu - lr.cuni:/vrohk Oim1m1di - 511rfl111r1.I Toonklcur - vroue-/mu11sh:m. ~oor/solt,/orkcs Toonhooglc - operolcmos llclrum - 2 :! 4

l <I Slyl- opcro.h1lcvcrwcrk1nrv11no11trn11111$ld,11u1•ull!rc mus1ck

:l Om l«t'lin(C aan opcrakompomsle CA hul kom~ 3. Ucklcmloon dee operas v11n Verdi rt1 sm& ·11 mcludu: vn11 llrtel lwkcnd\rskl

lUl:>it:RMATl:RIAAI.

r.eor:rUIZU.

llookcJonCIHstct3:

lloolt-d on lnsln11nenl~I lla=ic· KIMEIV\: Giacomo l'UCOHI: ChlfHlt:llARll. lcnmfor HUSH. llednchSMUANA: Giuseppe VERDI:

Canncn - Sl!M~CIYllM flOl'M/Qr.•· San.ti Sl_'eunerr!t1ns(6)-ps1!1rnce/J Slaan op,y•irdic:foUolum (l.arcoatFuctolum)(G A llos::;1m) !lansnn die Tuimclaars(OllnccoflhcTumblc~} (NA llunskyKomkov)

America Kimcraandlhcopcraidcrs Madame Bullcrfl1 - Cen .Jont d.1,f ff/ne. /il)e d.Jf/ Rcaloullhalrh1lhmonaJrum lli~ber ground Du: Vcr•ooplc llr11id - /J.ttJSl'1ndi..•Aiwn't/tiil/le U Trov11lore - A.tmb«/diQOI" /Mrf/ {"f.oru.s/ lbcokllo - U th/J/14 e .l/cbik

Uh/J/11 Ai,tr/rl

<Hello- /1Jlklml:Sld

IJEIJMATElllAAI.

torc1ulor"~ U.1rd1 Olil f'oclryi11111ol1on!:l21 Climb ev ry rnount~u1 (O;~I

\lcnadcrmc h."t"1lmcescnlreerJ

Omkrwrsrrdmgcrr llt·h11~kru11 S;1111. ~1vul win 1111:.k~nl~yslc lkWl'ClllC Si'llUl 1uc\ lllU~ld Skclscv1111 khh1111

Trn11ro1dtur en hJ11~p.1r.11!11: Ktissdspekr .-n l11s,~tlc rro::n.m v.111 ul'<"tH

U.ITllM

lq 'l'EMA - Werklines foenresl en vorme I JlJNIOI! SEKONOCl!f: f'ASP. MOOlll.~ 14: Simfonic OOEISTEl.IJNCS U:l·:l!INllOlllJ lllllAK111·:Sf: lllCl.YNI·:

On1 leerline,e se kennis le verbreed deur die s1mlonie as genre m musiek le bchandcl

Opstclling van simronie-orkes Soorle s1111fomcf: gebru1k volkslictlcrc {Nuwc wereldsuufonie); gods<lienslige slrekking -en verha\cud (simfome nr 9 en simfo111e nr 6 van I, van Oetlhoven)

2. Om die ntldrukkingsmiddele wal in simfoniL't' 2. gebruik word. aan leerhnge bekend le slcl

Harmonie - gehruik van akkoordc in Simfonic nr G (tlccl :>) - L van Oeelhoven

l.UIS'l'ERMATERIAAI.

Ludwig van OEL1'110VEN:

Classic Rock: Antonin OVO~aK.

Frain. J llAYIJN·

llookcd on ln~lrumenlal

Uillreksels u1l -Sim(onic nr 5. op67 in c min

Vorm - herhaling en rrasebou (Verrassmcsimronie - variasiesl Tempo ~ staccato/legillo 0111amick - hard/sai: Toonkleur - versk1\lende mslrumenlc, pizzicato/legato Toonhoogte - op/af/dieselfde Rilmc - nlmep.1lrone (S1111fo11ic nr S -L van Ocelhoven Slyl - kldss1cke. ligle en godsdicnslige musiek

Llf:DMA'l'f:f!IAAI.

Simfonie nr 6. op68 in F niaj (Pasloraal) Simfonie nr 9. opJ25 in d min (Koraal) Point il illack

Jeugsangbnndcl nr :l7 (29) Jeugsangbundel nr 50 (29) Fitldler on lhe roof (·13)

Uillreksel 11il Simfonic nr 5. op95 in c min (Uil die N11we Wercld) Simfonie nr !.M (Vcrrassi11r.iP11uke11sd1l11r,} - Jilt' dee/

~lagic Slar Wars Chris REA: That's whal lhcy 11lways s.1y Uillrcksels uit TV-adverlens1edeunl1ics hyvoorhecld 1".dilc Top. !foyto,

Pics;mgs. Trusl llJnk. ms

Oc1wdcrinc. lcerlin!!J!cstnlrccrd

Praklicse gchnuk -advertens1es en hcdcrc llelmslcring Sang l.11islergi1ls en -vnaclys Grocpwerk

Ondcrwysmt•cli,1

Trn11roj1•klor <·u lrn11~p.ir1.111lt' \\assclspeler en kas::oclle

llATllU

1'1::MA - Wcrklincs T.cnrcs) en vormc I JllNIOR Si':l\ONlldlE l1ASE MOOUl.E 15: ADA Terna en variasie OOEl!iiEl.l.INGS l.EEIUNHOUD lllllAKTIEo1> lllGl.YNF. llATllM

I Om lcerlinge bckend le slcl aan vorm in musick I AllA llenadermg lccrlinggcsenlrccrd Terna en variasie

Ocluislcring 2 Om leerlinge se kennis len opsigle van die z Vo rm - herhaling en konl ras Saug

m11siekuildrukkingsmiddele wal vorm bewc1·k- ~lclod1e - hoog/h1ag Crnhesc voorslcllmgs - ooldek slr.llig. le vcrbrecd Tempo - 1ladig/v11111ig konlrns/herhalini:selcmenlc uil

Dinamiek - hard/sag bekendc voorslclhng vnu llannome - majcur/mineur hyvooriwcld molo1, huis. cus l'oonkleur - rnslnunenlasie

011tlcrw)'s111e1ha: 3. Om lcerlmge l>ewns le mm1k "n werke en 3 Sien omlcrslattndc lys

komponislc wal die vorms gebruik Truprojcklor en lrans11arnnlc l\assclspclcr en kassclle

LUl~1't::llMATEIUAAL l.IEOMATERIAAI.

Franz J llAYUN: Simlonic nr 94 (Vcrrassing/Paukcnschlag) - .?de lloc ry die bocrc (20) tlee/ Dankie (2)

Andrew IJ.OYD WEBUER Variasics H Sing onder mek11nr 11r ·1·1 (57) Johann PACllEWEI; Kanon op 'n hcrhaalbas in D maj (Cm1011 on a I write lhe songs (1J)

ground in D maj) Gel me lo llu: (;hun:h 011 l11m: (IJ) Franz SCllUDERT: Die Forcllckwinlcl opl 14 in A maj - Ide dee/ Pcler I TCllAl~OVSKY: Uillrcksels uil Nculckrakcr-suilc (Cassc-Noiscllc}

op71 l!ichard WAGNt:R· Lohengrin - Jloorspe/ lot tlir tlerdc• btx/IJ{

TEMA - Beskrv1Yende musiek .lllNIOll SEKONIJcRI\ f'ASE MOOUl.E 16: Vervoermiddele en musiek DOELS1ELLINGS LEERINllOUll

Orn aim leerlinge le loon dal vervoermiddele as onderwerp vir komposisies kan dien

Slee en perde - Juislergids Trcin - musieksnil

2. Om leerlinge van uildrukkingsmiddcle. wal 2. Tcm1lo - vinnig/sladig. accclcra11du/1ilanl;1ndo verskillende klankeUekle in vervoer kan Dinamiek - hard/sag bcwerkslellig. bewus le maak Toonkleur - inslrnmeule idenlifi:;c.oer

Rilme - rilmicse palrone in licdcre

Om Jeerlinge van uildrukkingsmiddele, wal in J. licdcre gcbruik word. bewus le maak

Orn )eerlinge van die bewaring van die kullurele erfenis Len opsigle van vervoermiddele bewus le maak

1.UISTERllATERIAAL

Lero1 AHO[RSOH: SA Polisic-orkc~.

So11nd£11ecls.

Slecril(Slr:icll:Ride) limbcricrsclrcin llocrydieBoere Vlkcl111&•1lopst1C TrcinHlwcrln:k

·Trein•1l11nkomcnslop Motor •11laancc:1ltokd •ord Tclslar

llarmomc - akkoonlopee11vol~111g. ho11111fouw Vonn - !rascslrukluur. vorm vun lic1I Toonhoogle - op/af/dicselftk• Sly! - klassiekc. volksmusick

Volksliedjies - die vervocrmiddclc 1wl 111 die verle<le gcl.iruik is

LIEDllATEl11AAI.

Kimberley selrcm (201 lloerydicboere{20) Michael. ro• lhc bo&l 11s\1orc (115) tcavmc,on a Jdpldnc (IJ)

TORIUOOt:S ft llcilor V!UA·LOBOS. Bachi1na Drasilcitll - Dk lktn ltrllJlpt' ran die (<11/Jlr.1 /f'/Je

/illk tnin fJ/ IM Ci11JJ1hl)

DIOAhTlf.SI·: RIGl.rn~

Oenadering: Jccrlinggesenlreerd

Gcl.iruik vn11 luislcri,:ids llilkcn van ,1kkoorclvcra11dcri11gs [Jcluislcring Sang llcwegiog saam mcl lrnscs in musick Kial' ril111cpal1onc lnslnuncnlale spel {111c-1nelodies) Grnficsc nolasie - loonhooglcmding

flndcrwysmcdia

Tr11projcklor en lrnnsparan!c · Kassclspcler en kasscllc Nic-mclodicse slagmslrumcnlc

DATUM

1UtA - Beskrvwcnde musick I JUNIOll s~:KONllrn~: rA:;~ MODULE 17: Pro•rammusiek. insluilendc die naluur DOEl.STEIJ.INGS 1.Er.RINIJOllfl

Om lccrlinge bcwus le maak van die naluur Sf!

invloed op musiek Melodic - melodiesc koulocr: wind Toonkleur - slaccalos: reCn en snccu Toonhoogle - hoog/laag: voels OiMmiek - crescendo en <lecrcsccu<lo: <londcrslorm. sonsopkoms llarmonie - hcelloonloonlccr: maanhG

Om ltcrlinge bewus le maak dal musiek soms '11

slorie or boodskap (program) hel. 2. Tikmasjh·n. bye; kononskolc. doudcrnlorm. v1ssc

3. Om aan leerlinge die leefwereld van die lotpaslike komponisle oor le dra

Sien die ondcrslaande komponislc en 1n•1 kc

LUIS'l'f:RMAT~HIAAL

l.eroy A~OERSON. lud••& van OE£n!OYEI(

Achllle·Clau~Dl:bUSSY: l:dv11rJ GRIEG: George t' llANutt..: fclii Mt:MOl:l.SSOUN: Nikolo1 lilllS~'Y-KORSA~OV· CamllkSAINf-SAtNS:

franz SCllUUl:Kf.

Mer I TCHAIKOVSKY. AntomoYIVAl.DI

DicT1kmasjk:n(TheT1pc:•rilcr) SonatcopZ7, nt2 {Munlir:)- /slefieel Simfonic nr 6. opVll in f moj (l'aslomll - &le rkd

Suitt bcf11rnasquc - CZ11/'tklt!ct' Peer Gynl Suite I - dt,tends/etw.111.'/' (J/cqen.tb111mul1,f) Uilln:k:iel~ 1111 die lalcrmu£ick S111lc (Waler Mu.'iie Suite) Hebrides Ouvcrhm: op26 - fi~.11 ye rtol (lin,rHh· H.i/Jk) lkevlucv1ndiellommclby Uiltreksels 1ul die Karooval van die diere (Camavnl Jes An1m1uxl

.DicforeUcop32 Uictlwckoninc(DtrCrlkOnic)opl Ulllrcksds u1t die 1812 Ouverlnrc opt9 U1llrekstl' mt DitVitrScisocnt(l.cqu11Urost11gioncl

LIEDMAT~UIAAL

Singin' in Hie rain (7) My favounle llungs (8) Green. green Cross of llo111c {7) Summertime (131 Moonnvcr (11:1) (ti)

Dcna<lcring. lccrhuggc~-cnlrccrd

Oeluislt'nng Sang Lccrli11gc mocl visuclc bccldc lckcn van dic 1wluur en die program wal 111 il1c musick vnnrkom lnvul van h11'.)ltt;,:11h;

Omll'nvysnicdia

Truprojcklor cu lrausparanlc ~assclspcler en k11sscllc

JJA'l'IJM

l'EMA - Ueskrvwende musiek I JUNIOR SEKONil<'lil' i"ASf; MOOlll.E 18: Seisoene OOEISTELl.INGS l.EEfilNllOUll IJIOA"1'1f.SE Rlt:l.YNf; IJATUll

I. Om leerlinge ... musiek •al seisoene OS I. Seisocne: somcr. hcrrs. winl! .. ·r. k'nlc lk1w1\cri11g lccrli11g~e::;c11lrecrcl onderwerp hel. bekend le slel

Ocluislcril1g 2. Om aan lecrlinge le loon dal 2 llarmonie - yl/digle leksluur ~fang

musiekuildrukkingsmiddele ook in bogcnoemde Vorm - sekwense llcsprcck winlcr· en musiek gchruik is Tempo - vinnig/sladig (wiuler/sonwrl sumcrakllwilcilc

Oinamick - hard/sag (lw do11tlcrwrcr) llcwcgm;: ~;1am 111d 11111~1ck

Tuonkleur - le~alo/slaccalo (kouc/lullc) Croc11wc1k Toonhoogle - hoog/lailg ~lclr11m - :l 4 011dcrwysmr1li,1

4 4 Sly! - kh1ssieke en liglc musiek Truprojcklor en lra11s11anmle Sleniming - orkeslras1e (loonskil<lenng) Kassclspelcr cu kassclle

LUISrERllATERIAAL LIEDMATi':RIAAI.

Johann ~S DACH Orkcssuile nr 2 - /J,u/Ji1ene Liedjic v1r jou flt\) !looked on Classics 3: Oic Vier Seisoenc (l.c quatlro slagionc} - Somer Summer llolitlay ( H)

(A Vivaldi) Over lhe Rait1bow ( lfl) (22) 'n Somernagdroom (A itidsummer Nighl's Dream) (P Mendelssohn)

I like the rlowcrs (22)

!looked on lnslrumcnl.il Magic: Morning has broken Carl ORff: Carmina Ourana - .Miu/ r/dmoor l'ranz SCUUB~RT: In die Lente (Im Fruhling) i'eler I TCllAIKOVS!;Y: Uillreksels uil Nc11lckraker-s11ilc (Casse·-

Noiscllc) op71

TEMA - Slemmin•smusiek I JUNIOR st:KONllclll: FASI·: MODULE 19: Geleenlhei<lsmusiek llOf.l.'ifEU.INGS l.EERINllOllll

Om leerlinge van die verskillcnde slemmingswaardes in musiek bewus le maak

2. Om leerlinge van die gebruik van fonksionele 2. nmsiek bewus le maak deur middel van umsiekuil<lrukkingsmid<lele

Celeenlheidsmus1ek - sport-. loe1111g-. jagmus1ek

llarmonie - akkoordveranderings Vorm - onlleed vorm Temtio - vinnig/sladig Dinam1ek - decresccndo/crcscc1Hlo Toonkleur - hcMc:r/do11kcr Rilmc - posslag Styl - klassieke. 'musical'. film. ligle en Voorlrckkerm11siek

3. Om aan lecrlinge runksionele liedere. wal 3_ Uehles-. kam11vuur-. slap- en vcr)ilul':Hl•1::hcd algemecn gesing kan word. te Jeer

LUISiERllATERlAAL l.IEOMATERIAAI.

Jeugsangb1111dcl nr U7 (ZU) Klap die hande 17·1)

lllllAKTll·:S~: 1111:1.YNI•:

Ocnadering leerlinggcsenlrcerd

Oeh11slcri11g - omgcw111gskla11kc Sang Onllecd vonn v;m licllcrc Ocwegmg saam met lictlcrc

Ondcrw)'~nwd1u

·rn1pro1cklor en lrnnsp11ra11lc Kassclspclcr en ktisscltc

l~roy ANDERSON· Jannie DU TOIT Hooked on Classics 3:

Fiddle Faddle Klap die hande Do-Re-Me Oklahoma

As die vonke dcur die lug se1I (75) Ons slap en slap (65)

!looked on lnslrumenlal Macie:

Sound Effects:

Carl M von WIER:

Chariots or Fire Star Wars Wcdloop Op 'n jag uil Tocjuiging <lcur mans Der frcischUlz - /JA•lerslaiJor

Roll oul lhe barrel (65) Gaudeamus lgtlur (351120) Congralulallo11s (l·I)

llA1'1111

n:MA - Slemminosmus1ek I JUNIOR Sl\KONDeRf PASE MODUIE 20: llumor in musiek DOElSfELUNGS LEERINHOUIJ · lllllAKTIESE HIGLYNE DATUM

I. Om leerlinge bewus le maak van l1umor in I Humor in musiek - voorbeelde uil die 11al1111r Benadenng. leerhnggesculreerd musiek as nie-verbale kommunikasiemi<ldel

Bcluislering 2. Om leerlinge le lei om le onldek hoc 2 Wal maak musiek snaaks Luislervraelys

musiekuildrukkingsmiddele gebruik kan word Dinamiek - skielike lorlissimo (If) akkoonle Sang om humor le bewerkslcllig Tempo - slad1g/vin11ig op onkonvens1onde l\Jashesprek1ng

plekke. aCcelerando l\realiwilc1l leerlinge moel cie Rilme - smkopasie. gepunleerde rilmcs mus1kale grnppe skcp ~lelod1c - onloepaslike omvang/rcgblt>r Toonkleur - slrykers. houlblascrs. elcktro111esc Ondcr11·ysmcd111· inslrumenle

Truproje~lor cu lro111spara11le l\assclspeler en kasselle 1Jelod1ese en nic-mclo<licsc slaginslru111e11lc Klavier

l.U15i1':RMATERIAAL LIEDMA1'ERIAAL

llikcnATI: llillreksels uil The llunling of the Snark Aller lhe ball was over (H) Franz J IJAYON: Simfonic nr 94 (Vcrrasing/Paukcnsehlag) - .?de Algy mel a bear (22)

o'eel ~lairzy <loals and dozy do<als (6!>) Jacques OrfENBACll: Orfeus in die OndcrwCrcld (OrphCc aux Eufcrs} - Supercalifragilisliccxpialidoc1ous (65)

D10-c3n franois POUIJ:NC: n;c Gcmaskcrde Dal (I• Dal masque) Camille SAINT-SAeNS. Karnaval van die Dicrc (Carmi.viii des Anirmmx} -

!4e Sl.i!p,ro' SKY 5. Dance of lhc Dig Fairies

TEMA - Slemmin!smusiek JUNIOR SEKONlleRE F'ASE MODUl.E 21: Romanliese musiek DOEISfEUJNGS LEERINllOUD · DIDAKm'SE RIGLYNE IJATUll

L Om leerlince bekend le slel aan slemminge in L Romanse. nagmusiek. droommusiek (besing Oenatlcring. lcedinggesenlrcerd Romanliese musiek lie(de. nag. naluur). beskrywende woorde

(dromerig. harlsecr. verlange. eensaam) Ueluislcring Sang

2. Om leerlinge verlroud le maak mel die 2. Uilbeelding van Romanliese st yl dcur n11ddel Luistergids en -vraelys nmsickuildrukkingsmiddcle van die Romanliek van: Ervaar sh.•mminge

Rilme - "Woonle Tempo - sangslyl (cantabile). rubato Onderwysmetli<a: Toonkleur - loonskildenng 01> klav1er. viool. sang Truprojeklor en lrans1laranle

Kasselspeler en kassclle

l.UIS'l'EHMATERIAAL LIEllMATF.RIMI.

Ludwig van Q[ETllOVEN: Sonale op27, nr 2 (Maanlig) Magiie (40) Achille-Claude OEDUSSY: Suile bergamasque - CY.iir o'e lune Ek s1en vandag die son weer skyn (<12) fril• f' KREl:,1£R: Ucfdcsvreug (Liebcsfreud) Kamma kamma (2)

Llefdcsleed (Llebesleid) Die wilgerlmom <lnar 111 011 Polchcrslroom (IO) Hooked on Classics J: Uiltreksels uil lloo.ked on lfomance Love Slory Theme (6°1} Uillreksels uil klankopnames van Richard Clayderman (klavicr) Moon river (67) (6)

Ma {llc's makinc eyc:s al me) (67)

TEMA -Al•cmcnc lemas JIJNIOll SEliONlll-lll·: ~'AS~: MODUIE 22: Beroene in musiek DOEISTELUNGS LEERINllOIJD DIOAKTll.'SE RIGLYNE DATUM

I. Om leerlinge se elgemene kennis ten opsigle van I. ).lusiekberoepe: Oenadcring: leerlinggescnlrecrd musiekberoepe le verbreed dirigenl. orkesspeler. komponis.

musiekonder«yscr. resensenl. sangcr Beluislering Sang

2. Om leerlinge van die belangrikheid van kennis 2. llarmonie - yl/Jigle lcksluur lnvul van luislervraclys van musiekuildrukkingsmiddele in musiek- Vorm - frascslruktuur (;rnepbe~prck111g of bcroepe bcitus le maak Te1npo - laq~o/i111da11lc/prel:ilu dcmonslrnsic (111usickhl'roe11c)

Oinanuek - ha1·der/saglcr S~cp cic nlmrfra:icS Toonkleur - inslrumenle Groepwerk Toonhoogle - sing lied Rilme - inoefeuing van reeds aangelccrdc note Ondcrwysmctlin en ruslekeus Slyl - ligle. klassieke. film-. volks- en populCre Trupro1eklor en lransparanle musiek Kasselspelcr eu kassclle

LUISTl\RMATERIAAI. LIEDMA'fERIAAI.

Phil COIJJNS: Another day in Paradise Kan 'n man dan 11ie {74) Acbille-Claudc DEBUSSY: Suilc bergamasque - Cliltr de June Trocpic Doepie (.12) GYPSY KINGS: Volare Die vrolike musikanl {20) llooked on Classics 3: The Sailors llornpipe Lazy coconul tree {GJ)

Scotland lhe brave 1'hcrc·s somclhing aho11l il so!Jicr (65) llooked on ln~lrumenlal Alllhc111ccgirl:;lovcasa1lor(U5) Uat:ic: The good. lhe bad. lhe ugly Alherl w Kml.UEY· In a Persian Markel Dame NIEHAUS Kan 'n man dan nic Ja«111es OffENDACll: Orfcus in die OndcrwCrclil (OqihCc aux ~:11f1:rs)

- C.in-ci1n

1'F.MA - Alfemene Lemas MOIHJl.E 23: KonserL,aalclikel OOEIS'rEl.l.INGS l.EERINllOUO

Om aan die leerlinge die gebr11iklike konserl -saalelikel in <lie lfeslerse samelewing le leer

2. Om die 111usiekuildrukkingsmiddele in konserl- 2. musiek aan leer\inge bekend le slel

l.Ul~TERMA1'ElllAAL

llookcd on Classics J :

llookcd on lnslrumenlal ~lagic

Oklahoma Do-Re-Me

America Star Wars

Algcmene reels in vcrbaml niel konsertsaalcl1kcl in 11ic Wcslerse samelewing

Harmonie - alonalileil/lonalilctl Vorm - konlras in frascs Tempo - vinnig/slu<lig Oinamiek - crescendo Toonklcur - naboolsmg vnu insln1111eull;L1nke Toonhooglc - sprnngc/lrappe/dicscHdc Rilmc - rilmepalrone van woorde Slyl - ligle. klass1eke musiek

LIEnMATElllAAI.

Oklahoma (15) Oo-Re-Me (62)

Uc1wdcrinc: lccrl111ggescnlrecrd

Uchnslering Grocpwerk - kreal1w1lcil 5.Jng ·roon konlrns in frascs en Loo11hoogleversk1llc grnfies a;m

0111lerwys1nc1ha

Tr11prnjcklor en lrans1Mnrnlc l\asselspclcr en kasscllc Konscrlproi:rnm

The impossible dream { 1:l) Skirnblcshanb the n11lw;1y rnl (U)

Pielro MASCAGNI: Cavallcria Uuslicana - /t1/c1mezzo

Sound £Heels no :J; Applous (Applause)

Ti':MA - Aleeinene lemas JUNIOI! SEKONlli:lll·: f'ASf: MOOlll.E 24: Ulokkiesraaisel DOEISl'EIJ.INGS l.f:ERINllOlllJ

Om leerlinge se algemene kennis <leor kort musieksmlle wal as lcidrade <lien. le locls

2. 0111 leerlinge ltcuus le maak van die korrckle ... s11elling van mus1cklcr1ne soos in nr I se lct·ri11houd

LUISTERM1ITEHIAAL

Luislcrvr~clys lmndel oor Name van inslrumcnlc Musicklcrmc Kom1wmsle Popgroepe Kunslenaars Tempo (sladig/vinnig) Orkessoorle {s1mfo11ic. jaiz. µop. co1111lry. ens) Tilels van liedere en klassieke wcrkc Ken11ys1es oor die radio en op TV Genres (opera. bullcl. 'musicols') Adverleusiedcunljies

~lusicklerme

Ko111rion1sle Po11grocpc Kunslcu.mrs en soos iu nr 1 lutrlw gc11oc111

lJF.OMA'l'f.l<IMI.

Ongeveer 60 - 100 sekomles van die beken<lsle gcdut'llcs van bogenoemde musicklipes kan in enige volgorde gespecl word. Tcenslelling lussen klassiekc musiek. popmusiek en .u1dcr musil'klipes hehmirl ingesluil le word ?m vervcling le voorkom

lllllAKTIESE llH:LYNf:

lknaclcri11g h!t•1 li11~gcsc11lre~nl

lk:h11:sleri11i; lnvul v;111 h10Hicsra.11scl Korrckle spelling wmd 11agegaa11

Ontlt•rwys111cd1.i

TrufllllJeklor cu lnmspt1r<111lc J\dssctsprlcr en kassellr

OATllM

ALFABETIESE BRONNELYS VIR LIEDMATERIAAL

Die nommer vooraan e!ke bundel is die nommer waarna verwys word in hakies na

die liedere in die modules.

!. African Songs African Music Socielv 2. Afrikaanse Trell ers Deel 2 EMl-Brigadiers Musiek 3. Alleluja: 77 Songs for hiking A & C Black 4. Appusskidu: Songs for Children A & C Black 5. A Book of Rounds Penguin 6. Bumper Book of Film Music International Music Publications 7. Bumper Book of Pub F'avouriles 2 International Music Publications 8. 100+ Buskers International Music Publications 9. Cats - Andrew Llovd Webber Faber Music

JO. Children's all day ~very day songbook International Music Publications 11. Children's birthday songbook International Music Publications 12. Choral folksongs of the Bantu Chappell 13. Christmas Carols Book I & 2 Penguin 14. Cliff Richard - Golden Greats EM! Music Publishing Ltd 15 Easy Mix 'n' Maleh Universal Edition 16 Family Songbook Reader's Digest Ii. FAK Lekkersing liedjies I FAK 18. FAK Lekkersing liedjies II FAK 19. FAK Lekkersing liedjies Ill FAK 20. F' AK Sangbundel F'AK 21. F'irsts and seconds (Book I & 2) Oxford University Press 22. F'lying a Round (88 Rounds and Partner Songs) A & C Black 23. Die Geloofsbelydenis en l 5 Deskante NG Kerk 24. Die Goue Gerf SA Volkspeleraad 25. Graduated Rounds Novello 26. Harlequin A & C Black 27. Hlabelela Mntwanami - Sing. my Child Ravan Press 28. Jazzylophone Scholl 29. Jeugsangbundel NG Kerk-uitgewers 30. The Jolly Herring: i7 songs - folk and pop A & C Black 31. Joseph and his amazing technicolour dreamcoat Lloyd Webber 32. Juke Box A & C Black 33. Kinders van die Wind - Koos du Plessis Tafel berg 34. Koraalboek NG Kerk-uitgewers 35. Making Music your own Silver Burdell

:5. ~tango spice: H Caribbean san~s :27 ~.leerslemmige liedere vir die hoers~aal '38. \lix 'n · \lalch '.39. 1.lusic n ~lus1ek vnn Bies Bridges. Die .; L ~.tusiek van Christa Sleyn. Die 42. ~.tusiek van Rina. Carike en Anneli. Die 43. New 72 Gianls. The ~~. Okki-Tokki-Unga -li Oklahoma ~6. Oxford School ~.tusic Books. The ~7. Psalms en Gesange .JS. Scriplur.e in Song Books I & 2 49. . School Hymn Boak or lhe \ielhadisl Church. The 50. Seconds and Thirds 5 I. Second Youth Sang Boak. A 52. Selections from Giiberl & Sullivan SJ. Seven Sea Shanties 54. Singa Linga Langa 55. Sing a Round -56. Sing Care Away (Book l - .t) 57. Sing onder mekaar 58. Sing Together 59. Sing vrolik saam (3-slemmig) 60. Someone's singing. Lord 6 L Something lo sing (Boak l & 2) 62. The Sound of Music 63. Spirituals Reborn 64. Suid-Afrikaanse kersliedere/ South African

Christmas carols 65. fo-ru-ra boom-de-ay (Songs far everyone) 66. Thirty Negro Spirituals 67. Treasurv of Best Loved Sangs 68. Treffers. van Sonja Herhaldl~ Die 69. Two's company 70 Vir ons Volkspe!ers 71. Volksangbundel van Anna Rudolph 72. · Volksme!odiee uil Europese lande 73. Volkswysies (2-slemmig) 74. VOORinnieKOOR 75. Voorlrekkers Sing 76. Youth Song Book

.\ ,x C Black ~:asou Cm\·ersai Edition ~ilver Burdell Tempo-pubiibs1es Tempo-publikasies Tempo-publikasies Charies Hanses \lusic .~ Beaks A & C Black Williamson \lusic Oxford Universilv Press XG Kerk-uilgewers

Oxford University Press Oxford University Press

Oxford University Press \!askew \liller Longman Penguin -Novello NG Kerk-uilgewers Oxford Unive-rsily Press Nasou A & C Black Cambridge University Press Williamson Music Cambridge University Press

Voorlrekkers A & C Black Oxiord Universilv Press Reader's Digest Son-Produksies Schofield & Sons Volksang en soeie DALRO - . DALRO Nasou Voorlrekkers Voorlrekkers Oxford University Press

DEPARTEMENT

VAN

ONDERWYS EN KULTUUR

ADMINISTRASIE : VOLKSRAAD

TRANSVAALSE ONDERWYSDEPARTEMENT-

SILLABUS VIR KLASMUSIEK

STANDERDS 8, 9 EN 10

(SENIOR SEKONDeRE FASE)

IMPLEMENTERINGSDATUM: 1991

KOPIEREG VOORBEHOU

806

I. INLEIDING

SILLl8US VIR KL\S,\IUSIEK ST:\NDERDS 8. 9 EN l O

(Senior Sekondi::re fo.se)

1.1 ALGEMENE DOELSTELLINGS

Die algemene doelslellings van Klo.smusick is do.arop gerig om a.lie lccrlinge le voors1en van:

1.1. l oplimale belewing van klank as die wese van musick;

1.1.2 geleenlhede vi_r die onlwikkeling van hulle aangebore musikale polensianl;

1.1.3 molivering. kundighede en vaardighede v1r Jewenslange akliewe belrokkenheid by musiek;

1.1.4 die verrnoe om rnusiekkundighede en -vaardighede in nuwe musiekervaringe loe le pas;

1.1.5 'n loenernende insig in en waardering vir hulle eie rnusikale erfenis en milieu. asook rnusiek in die kulluur van ander;

1.1.6 geleenlhede vir sponlane sosialisering en belrokkenheid by musiekakliwi lei le.

1.2 SPESIFJEKE DOELSTELLINGS

1.2. l Om leerlinge le lei om die volgende musiekvaardighede le onlwikkel musiekbeluislering en sang. asook beweging. inslrurnenlale spel. skeppende akliwileile/krealiwileil en nolasielees. Hierdie akliwileile irnpliseer: luisler - uilvoer - komponeer of skep - herskep - waardeer.

l.2.2 Om leerJinge le help om 1nusicl;l;1111diglwde le verwcrf

oor komponisle/werke/ uilvocrendc kunslcnaars/ 1n 11siekgcbc11rc, aan die hand van onderslaande m11sickkonscplc/clemcntc wat. afsonderlik. maar ook in smuehang mel mekanr. gchoor en 0;1dersl;ei

word - loonhoogle en melodic

- loonduur. rilme, melrum en le111po

- loonkleur /limbre - harmonic en leksluur - vorm en slrukluur - sly! en slemming:

om hulle algemene kcnnis sodocndc t1il le brci en legelykerlyd eic spesifieke belangslellingslerreine aan le sprcck.

1.2.3 Om leerlinge verlroud le maak nwl nrnsikalc k11ndighcdc en vaordigltcdc soos genoem in l.2.1 en 1.2.:~ aan die hand van kwalileil klankrnalcriaal uil:

Weslerse kunsmusiek: musiek wal dee! vorm van die lecrlinge se bcirokke ];ulluurerfeni~

(gewyd, sosiaal en lradisioneel): volks- en lradisionele musiek van ander volke: musiek van die leerlinge se eic belrokke milieu.

l.2.4 Orn met behulp van die verworwe l;undighede en vaardighedc die volr;ende t c onlwikkel:

'n esleliese waardesisleem waarvolgens leerlinge veranlwoonlelike kcw:cs

Len opsigle van musiek kiln rnaak:

begrip en waardering vir sowel ltul eie, as vir andcr se musiekkulluur;

insig in sowel hul eie as ander se affekliewe belewing van m11siek.

2. KERNLEERINllOUD VIR STANDERDS 8, 9. EN I 0

Temas word in modules verdeel. Beplan die jaar se werk soos volg:

kies EEN module uil elkeen van die agl lemas kies enige verdere SE\VE modules hied dus VYfilEN modules in die loop van die akaderniese janr aan hied elke module verkieslik oor die duur van TWEf: lcsp<·riodcs ;1a11

enige ander loepaslike module(s) wal inskakel onder een of meer van die

genoemde lemas. kan as allernalid aangebied word.

SENIOR SEK ON De RE F'ASE (Slanderds 8. 9 en IO)

2.1 Musiekslyle 1. Musiek van die Twinligsle eeu 2. Dansmusiek 3. Populere musiek (.Jazz en Disko)

2:2 Weslerse kunsmusiek 4. Bach en die Baroklydperk 5. Beelhoven - individualis 6. lmpressionisme

2.3 Yolks- en nasionale nrnsiek 7. Musick van oor die w<'reld B. Musick van Afrika 9. Wes-lndiese nrnsiek

2.4 lnslrumenlale en vokale musiek 10. Poesie en musiek II Klawerbordi nslru rnenle 12. Andrew Lloyd Webber

2.5 Werklipes (genres) en vorme 13. Variasics 14. Naboolsing. kanon c·n f uga 15. Verhoogmusick

2.6 Beskrywende musiek 16. Voi~ls en nrnsick 17. Huimlemusiek 18. Adverlensies e11 m11siek

<) N

:.,,( Slemmingsmusiek 19 Slemrning 111 11111s1c·k 20. Oorlogsrnusi<'k 21 Cewyde musiek

2.8 Algemene lemas 22. Geleenl heidsm usiek •'

23. Klankgo!ll'e en klankproduksie 24. Hlokkiesrnaisel

3. DIDi\KTIESE mcLYNF.

3.1 13ENADERING

13y die aanbieding van Klasmusiek behoorl hcsondere aandag gegce le word aan:

3.1.1 die belangrikheid van die wese van musick. naumlik klank. wal clie uilgangspunl van clke les behoorl le wees.

3. I .2 akliewe belrokke;1hei<l \'nn lcerlinge by nllc lccrgebcure. Danrom bchoorl clic verskillende musickvaanligheclc gerccl<I en fli11k · binne clkc lesperiodc afgewissel le worcl.

3.1.:1 luislersnillc wal no11wanldik 110 lol liO selwndcs d1111r. Oil kan gclcidclik lol BO lol 120 sekondcs uilgebrei word. llil is randsaam om ldankvoorheeltlt~ voornf op le nccm volgcns clic V<'rloop van die lcsinho11tl.

' 3.1 A bcgccslerde en gcreeldc samcsang wal doclbcw11s en aklief nngcslrccf wonl.

'n Wye rcperlorium van gcskil;le lic1lerc hehoorl dus opgcbou le wor<I.

3.1.5 die lorpassing van nolasievmmlighcdc wal in die prirncre skool vcrwcrf is.

3.1.!i inrigling van die omlerriglokaal 0111 die kcnmerl;c rnn dir l'ak l<: lwmplemenlcer. Huimlc. voldoe11dc :::ilplekke en locpaslikc on1!t:n1\•rn11:dia bevorder effekliewe onderri!! van die \'rtl;.

:J 1.7 leiding a;rn lcerlinge om rnusikalc 11crke le kan ''\'ill11ccr \'(;l;'.r·n:; dk eiesoorligc konseplc vttn rn11sick. :~odoendc k;tfl \'(·r:'d;er word dal 'n cslcliese sensiliwilcil by lecrliru:e 011l wikkcl

3.2 ONOF.RIYYSMEDli\

Ten einde die leerinhoud eHeklief oor le dra. behoorl die volgende ondcrwysmcdin le alle lye beskikbaar le wees:

3.21 I Primere onderwysmedia • klnnkloerusllng mel plale/kasselle/lnscrskywe

· • lruprojekler mel lransparanle 1 skryfbord • klavier.

3.2.2 Seltondere onderwysmedia • bullelinbord 1 musiekprenle en plakkale • melodiese en nie-melodiese slnginslrumenle t lelevisiernonilor en videornasjie1i . 1 kilaar en/ or and er loepaslike inslnmtenl( e) • skyfieprojcklor.

3.3 EVALUERING

Evaluering behoorl 'n inlegrale dee! van clke Jes uil le maak om le verseker dal verworwe kennis vasgele word en dal 'n esleliese waardesisleem mel belrekking lol musiek onlwikkel word. Evaluering kan plaasvind:

3.3.l ih die beginrase van die les

3.3.2 gedurende die les

3.3.3 ilan die einde van 'n les/lesreeks/module/lema.

4. INllOUD VAN TEMAS EN MODULES

Sien ahrlgehegle werkskema.

l,

IVf.Rl\Sli~llA

,\anvullende en ollernaliewe lied- eu lmslcrm11leriai.il kan n.1os 1he 11rrke geiys in module. ~ebrutk ~rnrtl

Daar behoorl op ·n deurlopende basis liedere ~angeleer le ·"01d '-'al verleenwoordigend is van gresklike. volks- en vaderlandsliedere Voor:esleldt liedhundrls gesklk v1r hierdie Joel verskyu 111 die .1angehe~le b1onuelys.

J. Die spellin~ un Russien komponisle se name is gedocn 'lOIJ;ens erkende cJ.l~erneen hesk1khare nasJaa11bronne. Die altcrnaliewe spelling .van tiierdie name word ·hierooder gelys en ko.n .:So gehrui~ 1rord:

Tchaih•sky - Tsjaikofski. Stravinsky - ~lrowinski

""TE"''U""'A~-"""ll""11s""ie"'k"'sl'"y"'fe-~~~~-----------'-"S=EN-'l"'OR~SE~K.ONOeRE fASE MOOIJl.E I: llusiek •an <lie T1tinli~sle rn1 OUEb1ELl.INGS

I. Om lttrbace JC 1fwtm'1lf! hnnq •11 llt'lrd iJ11: io•IOl:d JlllR die ~<&nolo11r op ~it modC"Y~JUc!ls Ir •crbHcd

!. On l«rliqt bC"•Ut Ir mu• . .,.. du: '"''•nlshp hiucn dic mu:nck. kur.1 en u11tekluur •111 die T•mhc\lt eti.1

l Om lttrlint~ bc•111 le mad ••II •rrsk1llendt mi:s1d.u1ldrnH1111un1dJdt •-11 f"mh11lt ttllSt musick ktnoc:rk

I Om ltolint~ behnd It sld un dit musitk van T•mli11lr ewu\..01apcn15le

UJISlt:i:·.~ ITERIAAI.

I Cla~s•c !lock: Ji1tu: MIMJGU[.

DrichlC1tt.IU1ktBall) IDCt1molion

tEERINllOUO

I. Oic hldoon. plalcsofl«. hsuhptlcr. lueuky•t. radio.-<11 f'I ens - --.tnp•C'ldinc -van pop"lin mwick

-.•ptns. 1loombom ell oorl~ -van-hkrdie etu

2. .hnJluilmt: br T•tnilplt ttuse.Jkildrriloos en artilrkluur IP1cmo.Uoydlritllll

l lftlodic • lona•l/1tonul lo<Jnlkur - onkon•en11onde dr7Ur1111cke. m1ttl•~terdcr Rilmc ~ sinkopr Cr1hcsc nolas1c

I. Prndcrrcki. Slra~miky Varese

LIEOl-IATERIAAL

! i\n):1llof P[liflCRIUI. J:l.u(~R( •tr die slacoffcrt •111 lli1os1ima (Thrcnodr lo Ille •1clim1ofllirosh1mal

Jtu1nncbundel nr It {i91 jprokie .. jr ·n sl1dikind (JJ) Kimlm un die 111nd (J:l) fl6) In tht mood fUI Calcil1f1llinc11ar(JZ} anchltyrs(J21 1

1,.,rSlltWl:4SH ..

1 [J~··rd \'-'Rc.i£

Die l~nlenlus {Le Sacre du prinlemps) • PJnse SJCr4/c lon1J.11ic (lfomsallon)

.tutumn lt1Yu{OI rhc locomolian 'J:21

OIOAKTIESE RIGLYNE

s.., lkhnslrrinc W1~lcrvnd11

Kruli•1lc1l-ltcrlir.ceskcpctt komposuiuyql1cn1 trafic-se nol1sit

Ondcnoysmcdi~:

Trupro1tklortnlr1r.spar1nlt K•nchpdcren hssellt Mclodiucmnic-mcloditsc sl<1c11utrumcrilt kl1ucr

OATUU

lnlA -Uusiekslyle UOOULE 2 Oansmusiek OOEl.5TELLINGS

I. Om leerlinge nn verskillende soorle dansmusiek bekend le slel

2. Om leerlinge aan die musiekuitdruklangs-middelt. wal in dansmusiek gebru1k word. bekend lo stel

LIJISTERllATERIAtlL

lloaked on Classics J: The Keel Ro• (Skolland) WIO!OA: Kaoma

I SEi'llOR ;;[KQNllellt: r.1:\£

LEERINllOUO

I Verskillende soorle di\11smus1ek - voU .. sd;rn~e. Spaanse ilanse. jeu~·l~ns. \tctlsr:. ·oillhoom danc1n1( kloptlanse. hallel

2. Harmonie - yl/d1gle leksluur Vorm - \;anon Tempo - itnJanle/prcsto Oinamiek - hard/sag Toonkleur - 1denlifi~eer mslrumenle Toonhoogle - melodiepolrone Melrum - J 4

4 4 Rilme - rilmepalrone van dJnse - 'r1111ckslep· wals. ·rox trot'. 'beal'. 'slowfo.{ rumb,1 ·cha-cha·. Lango. samba Slyl - ligle. klassieke. populerr mus1r.k

UEOM,\Tf:Rli\4L

Oariedoeriekant (71) Ta"Mossie se boered;.ns (18)

rmo~~!!Dl

fi<>n<"tlerrn~ I re1 lin~~l'."srnh ce1 •I

S.-rn~ fldmslr.rin~ Gfoepwerk 0P.'flt'~lllg ~a"' enkele tldnse) Oesf1eli11~ v;.11 OrH inslrumenle

On1ferwy~mcd1

TrnfHOJdlor rn l1ansp.1ranle 11 la'lsclle l\asir.lspelcr•:

Kl.iv1er 01H-1n'lln1me nle

Joseph UNNER: Schiinbrun wals (Schiinbrunner Wallz) Tea for l•o ifo, lrol) (16)

____ j Kylie lllNOGUE: Hand ol'I your llearl Aioi she s•eel (lox trot)(l6) Tielman SUS,\TO: Danse uil die Danserye 'Khen lnsh t)eS Me smilin~ (slO\r -..alld f!Gl

I.es Oicyclelt es de Oelme (8)

1!

TE\IA - Musiekslyle SENIOH SEKotlDeflE F.~SE MODULE 3: Populere musiek (Jaiz en Disko) OOELSTELIJNGS LEERINllOUD 010.~KT\ESE mr:LYNE DATUM

I Om leerlin~e se algemene kennis aangaande J<HZ I 01e herkoms van jazz Brnildenng leerlinggcsenlreerd en diskomus1ek u1l le bre1 Elemenle van 1azz

Die orgamsaste en ;yerk1ng v11n ·n Ji~ko disko- 3,rng benodigdhede Oclu1slcnng

1.eerlinge on\ ·*erp eie diskolo~o 2 Om leerlinge lw.wus le maak van die 2 llannorne - Blues nole Leerliuge mod ;ii die

musieku1ldrukkingsm1ddele van 1azz en kennts Toonkleur - dempers !mule~) 11oodsaahlihe dmge neerskryf .,. .. al oor le dra oor die klankslerkle van 'n disko Timbre - versk1lle 1iodig ts om ·n d1sko le open

Rilme - sinkope l\real11v1le1l Desibels Gevare van Le harde mus1ek op die oor Onderwysmedia

J Orn leerlinge bekend le slel aan die leerwtreld J Louis Armslrong Trupro1eklor en lransparanle en kompos1sies van die Jan- en disko- Ella filzgmld Kasselspeler en k.lsselle kunslenaars ~lichael Jackson 11ys voorbeeldc van rfempcrs

(mules) 4 Om leerlinge bevn1s le rnaa~ van die subkullus 4 Pos1l1e1ve en negaliewe be1n\loeding

van popmus1ek en die gevare uil le lig

LU\SfERMATERIAAL LIEDMATERIAAL

Louis ARMSTRONG Hello Doily Summertime ( 43) David BO'KI[ Underground Alligator Crawl 128) \lichael JACKSON Ilad The locomotion (J2) UHlreksels uil enige diskomusiek (byvoorbeeld Jennifer Rush - The power Smgmg lhe blues (Jl) or love) New Norl<l 111 lhe rnoring (67) Uiltreksels 111t en1ge janmusick

'l

TEMA - Weslerse k1insrnus1ek / SENIOR SEKONDeRE FASE MODULE 4: Bach en die Barol1lydoerk DOEl.:iTELUNGS LEERINHOUO DIDAKTiESE RIGLYNE DATU\!

I Om leerlin~e se algemene kennis \'30 die I Die onlslaan van die Baroklydperk en herkorns Benadenng· leerlinggesenlreerd geskiedems van die Baroklydperk le ver~ree<l van die le rm 'Borok·

Sun~ 2 Om leerlinge bewus le maak 'an die 2. Die arg1LekluuL skdderkuns en kleredrng van Beh11slering

verwanlsl..ap lussen die mus1ek en visuele die Barok L1~gaarnsperkuss1e {mel laasle kunsle van die Baroklydperk Ired)

J Om leerlinge bekend le slel aan die leefwereld J. Die le\te en werk van J S Bach Onden~ysmedia van Bach as komponis

Truprojeklor en Lransparanle 4 Om leerlinee bewus le maak van verskillende 4 Slylkenmerke van Barokmusiek Kasselspeler en kasselte

mus1ekuild~ukk1ngsm1ddele •al Barokmusiek Teksluur - polifonies Klankskyfieprojeklor en program kenmerk ,\telodie - om amen las1e oor J S Bach

Ritme - gepunleerde rilme van die Sarabande Kia vier

i Toonkleur - klawesimbel. luil (vergelyk met eleklriese kilaar). seunslem Vorm - fuga

I

LUISTERMATERIAAL LIEDMATERIAAL

Johann S BACH· Brandenburgkonserl nr 2 - Isle dee/ Tema van kletn fuga HI g mrn Klein fug;s in it min Viva la mus1ca (20) Tweeslemtnige vinding in a min Wag. ·<ag julfrou (20)

George r HAN0£L Suite nr 9 - Sarabano'e Greenslee<es ( 16) Andrew LLOYD WEBBER: Requiem - !'ii /esu Let us srn~ logelher (22) Uiuio MORRICONt: The Mission - On urt/J JS ti ts Come follow me ( 22) SKY 5 Sarabande (verwerking van Suite nr 9 - Sarabilnde firsl you make your fin~~rs dirk (22)

van G f Handel) S•ilched on Dach Lleklromese weergawe vnn J S Bach se

Tweeslemmige vinding in a mm I

10

!'EMA - \Yeslerse kunsmus1ek SENIOR SEKONUeRE f,\SE ~OOUl.E 5: Beethoven -indiv1dualis DOELSTELLINGS LEERINllOUD OIDAKTIESE RIGLYNE DATUM

I Om leerlrnge hewus le maak van die lee(wfreld I Die lewe en werk van Beelhoven - aansh11lmg Benadering Jeerlinggesertlreerd van kompo111sle by gesk1edems van ~apoleon

Sang 2 Om leerlinge le laal besef dal 'n komponis se 2 Beethoven as gevoelsmens en sy Belu1slenng

ide11le in sy mus1ek weersp1eel word ind1vidualisliese s1emng van die polil1ek van lnslnimr.ulale spel daardie lyd Klasbesprekmg

.) Om leerlinge bekend le slel aan die J Melodie - 5- nool omvang lemas Onderwysmedia mus1ek u1! dr11kk1 ngsrniddele wal verleenwoor- Di11am1ek - konlrasle. aksenle d1gPnd JS In Beethoven se werk Rilme - reelrnalig. sinkope Truprojeklor en lransparanle

Harmome - \. IV. en V Kasselspeler en kasselle Vorm - rondo. die Simtonie Video-opnames van TV-

adverlensies l Om leerlinge bewus le maak van die lrefkrag t 'ifal maak musiek ·onslerrlik'? Kia vier

van Beethoven se mus1ek w<Jl die loels van die Waarom word Beethoven se musiek so dikwels l yd weerslaan hel vir adverlens1es gebruik?

LUISTEllMAT[lllAAL LIEDMATERIAAL

llooked on Cl.1ssics A 5lh of Beethoven Slandbeelde (74) LudWJg van BU:fJIOVEN· Simfonie nr 5. op67 in c min - Isle dee/ Jeugsangbundel nr 14 (29)

Simlonie nr 7. op92 in A maj - .?tie &el Jeugsangbundel nr .17 (291 Simfonie nr 9. opl25 ind min (Koraal) - Ide o'ee/ Vioolkonserl op61 in D maj - Jde dee/ Kl.iviersonale ~p13. inc ~11in {Palhdique) - Jde a't•t1l

tJiltreksels ml verskeie adverl'ensiedeunljies wal Beethoven se mus1ek benul

II

TEMA - \Yeslerse kunsmus1ek I SENIOR SEKIJ~\JeRE PASE MODULE 6: \mprcssiomsme OOEL'.iTEL\JNGS LEERINllOUO -~--- \l\DA~TIESE R\GLYNE DATU~\

L Om leerlinge se algemene kenms wal be~rer die I Die lerm 'lmpress1omsme · llenadering leerlinggeseillreerd sk1iderkuns van die lmpressionisl1ese lydperk le Sk11rlcrye van kunslenaa1 s soos byvoorbeel<l verbreed Manet. Monel. Deg;is en Piss;:iro Sang

llcl111slermg 2 Om leerlinge bewus le maak ''" d1e 2 Hoe vergelyk die legn1eke van die beel<lende twslervrnel;<:

verwanlskap lussen die musiek en v1suele kuns kuns en mus1ek. hyvoorbeehl 1H11 vae hu1lelyne Kre.1l1w1le1l skrp e1e melo<l1ee van die lmpressiomsliese tydperk en ·n ·u1l fokus· ~effek le verkry 1 mel heelloonloonleer

3 Om leerlinge bekend le slel aan <lie J. Melodie - vae loonaard. heelloo11loonle~r Onderwysmedi<t musiekuildrukkin2sm1ddele IVal lmpress1onis- Melrum - vae lydmaalsoorl. geen aksenle licse musiek kenrTierk Teksluur - yl Trupro1eklor en lransparanle

Kasselspeler en kasselle 4 Om leerlinge aan die leef1Yheld en komposis1es 4 Debussy se lewe en werke Jkyfies en skyfiepf4J1ektor

van Debussy bekend le slel iafbeeldings v;in sk1lderye) ~lelodtese en me-melodiese slag1nslrume11le Klav1er

LUISTERMATERIAAL LIED!.IATrnli\AL

Ach1lle-Claude DEBUSSY Uillreksels 111l - .~an •J1e wide VJIJ die rrenboo~ (41) Die See (I~ Mer) '!Yh;il shall ;ve do w1lh lhe dnrnken s.1llor) (5B) lmagl!s I - ifeer.faalstngs 111 die wt1/er (/r'e!lels Autumn leaves f.1J) rf•ns !'eJ1J) l'rn fcrPq~r blo11111r: h11bbles IG~1) Oie.voorspel lot die Narniddag ·1an ·n llos~od (Prelude,\ l'aprCs-rn1di tJ'nn faunc)

/1

n:MA - Volks - en nas1onale mus1ek :iENIOI! SEKONOeRE F1\SE MOIJIJl.E 7: llusiek v•n oor die wereld OOElSfELLINGS LEEnllHIOUO 0101\liTIESE RIGLYNE OATIJM

I Om leerling~ se algemene kennis oor lande I Die volg~n<le lande word na aanleiding van hul Oenadering leerlinggesenlreerd rnense. hul gewoonles en mus1ekinslrumenle le m11s1~k ge1<lenlifiseer· verbreed Mnka Japan. Bras11ie. Enge•anri Span1e. Groephesprek1ng

D111lsland. llul~arye. Venes1e. f'ranhyk lAllyns- nelu1slenng Amerika. Amenka. SuuJ- i\fnka Sang

., Om leerhn~~ sermller le maak v1r ander volke 1 T1 .1d1s1ouele volksmslrumenle Owlerwysmed1a se kulture!e errems Akoesl1ese k1ladr

Barr.arolle (hoollied) Tri1projeklor en lransparanle Volksl1edere Kasselspeler en kasselle

LUISl'ERllATEHIAAL LIEO!IATERIAAL

Johnny CU:GG Cruel crazy beaulirul world Mooi Gnekeland (681 The music ol COSMOS Ocpicling lhe Cranes in lheir Nf'sl Edel .. iss (62)

Bul~•man Shepherdess Song i\round the irnrld (6) GYPSY KINGS Volare Cockles and mus3els ( 11) KAOUA Lambada Jamaica farewell (65) Jacques OfTENOAC!L Die Verhale van llofCman (Les Conles d'llolfmann) - Kum ba ya (60)

1110/ked (llarmrol!e/ Theres a kind o{ llush (8) Joaituiu TORINA: llulde aan Tarrega (llomma&e a Tarrega)

MOIHll.I; II: .\l11s1rk v;,n Mrik;, IJOf:l.'irf:l.l.INGS

Om leerhnge se ,1l~emene kc1111is van <lit lr;.dis1l'S. gcwoonlcs en kultuur VMI swa1 l .U11k11sl<immc le verbreed

., 0111 lcerlin~e beken<l lt sld aan 1lie versk~llende 2. sl~lkcnmerke en loonkleure van i\fnka111u::.1ek

LUISTt:RM,\TERIAAL

Ad l.ihilumkoor Um we yapo (Ovmnbo lied) Lady:imilh Black Mambasa: llomclcs:;

•l

funksionele 101 van m11s1ek in Oie kull•rnr van .~Ii ikasla111rne Gewoonlcs. nluele en lradis1es 1Jaarby mustck '11 rol sped

Teksluur - poli(omes. anl1fo111e'i ).lplo1!ie - cl;iknde melod1ese konloerc Rilme - polir1lme Toonklcur - membranofone. aerolone. kordofone. idtofone

LIEDMATLRIAAL

Uillrdscl!' 11il klankopnames van inhcemsc slaginslrnmenle (llu~h T1 ;:icy) Kk111kop11ames van lradis1onele !\fnkalromspe\

Tin.1 ""!" (J91 E' Molsoala• (J9) Siyani (27) lzmlak;ina (27)

lllllAhTIESE lllGLYNE __ _,_D_·\l_'U_fl-1

Oenadcr111g· leerhnggese11lreen!

S,1ng Reltuslennl! luslrument1le spel L111slervraelys BewPg111g · stedelikc lekk1edans

Onder1tysmcdia

Tn1pro1eklor en lransparanle Kassdspeler en kasse\le Klankskyriepro1cklor en program

oor AlrikamuS1ek Lj 01 H-inslrumenle i\fr1ka-·t11slr1~111enle (byvoorbeeld k.11imbas ind1e11 mooulhk)

. I

14-

'lTil,i - Volk'- en nasionale mus1ck SENfoR SEKONUellE fASE MODUl.F. 9. Wrs !mlicse rnus1el\ DOF.L) TELWIGS IUf<INliouo UIOAKTIESE RIGLYNE DATUM

I Om let"rli1u~i: " algcmene kennis v:in die I Die lerm 'Vies ·lnd1f' (Jenadermg leerlinggesenlreerJ kuiluur. geo!!roihese. hgg1111~ en mus1ek van die Columbus se onl<lekkingsrets Wes-Jndiese e1lande le verbreed Vernrmmg lydens wt!reldoorlog - Sang

seHvervaardigde inslrumenle van olie-konkas Belu1slenng IJgg<1amsperkuss1e mel lied I

' Om lrerlm~~ hr\..end le slcl Clan die versk1/lendc ., Tenn - calypso (Wes-ln<liese liedcre) llef!ele1<ling van liedcre op nie-slylkenmerke van \fes-lnd1ese mus1ek R1lrne - smkope melod1ese slaginslrumenle

Slemrumg - hghartige karakler Krealiw1le1l - maak eie calypso Melodie - meeslal ma1e11r. sekwense inslrurnenle Toonkleur - 'Slee\ drums'. maracas. bongo s

Onderwysmedia

Truprojeklor en lransparanle Kasselspeler en kassetle Nie-melo<liese slag111slrumenle Klav1er

l.tll~TU<MAT!:RIML LIEOMAl'ElllAAl.

!net l!AMIREZ Kreoolse Mis (Missa Crio!a) - Sandus 1\ess1e se wit perd (20) Ollormo Rf.SPIGlll 01;:11.1liaanse lndrukke (lmprernoni Uras1lia11e} - Listen lo Bongo drums (39)

IJ..ws ,'f}.mz.1) Ang~lique (391 llcolor VllJA l.OOOS (l;i~hiauas llrrnlc1ras - nr .5 rYlf stem en /;el/o's) Matilda (li7) U1tlreksel utl klankopname van 'sleel drum' mus1ek Calypso (22)

,., r·_rE_M_A_-_ln~s_lr_u_m_en_l._al~e~e~n_v_o~k"~'~'~"~'"~'-"~k ______ --===i: __ ~:;-_l~Nl_OU~rlOilll1~tt:T_\:J:---_·-_-_-_-_-_--_-_--_--~---------

MOOlJl.E 10: Poisie en mus1ek ,_D_O_EL.'i_._TE_l._LIN_G_S _________ +--l.£_'E_Rl_NllO_IJ0 ___ . _____ ____-_--::--1111L1,Tii::;ff<i1J.-r-w-. --~-ll-.\,-'l'-'i-l'

Om leerlinge bewus te maak van die wyse waarop poisie en mus1ek mekailr aanvul

Om die m11sieku1ldrnkkin~smiddele van woonl. melodie en begeh!1ding aan leerlingl:! hckend le slel

Om leerlin-'e aan kunsliedere. Afnkaansc lu1slerliedere asook kabarelmusiek bekend le slel

Kunshed. huslcrhed. bharetm11s1ck (rym"ootite. onrlersle11n1ng Pfl

kon1111eulililrfttnks1e van he:!eleuli11d

Tl'mpo - 1ioon:lsklltler1n' Oinilnuek - woor./~k11dennc:

ll11rmome - yl/d1~\1• lrk~t11m Vo1m - frasesln1kl11ur. ko11lr,1'i/h('rh,1hn~ Toonklr'lr - vrr,ur :ni,·111ste111

Sl)·l -kuns- lu1slerhed

Enkele bt'lilngnke l1edP.rkompf)ms!e kabarelm11sic1. l111sleri1cd~unslenaars UilvoPrmgsgeleenlhede ·11r kunsheJ. k.1b,111~I r:n lu1slerlred

lk11ild,•r111~ lt-1·1 !11t~!·«scr1lrPcrJ

;.in~

il1·l111s\1·n11~

I 111~tcr~1ds "11 ·'.'f,wh·~

!"r ll!ll<l!l"hfqf l'!I lr,011~p,u,1•1!»

f\oi,~e!::rwlrr 1•11 k.1~;dll'

r-L=U~l:l~fE~'H~MA~T=El=llA=AL~------------+cL,"Jt:""O\~J,\~n:,c·cll,l.cAcc..\I~. -----------------------------

frani SCHUBERT' Die Elwekoning (Der f.rlkonid Rosie van die lleide {lleidenrrislcm) Die Fore I (Die forelle) Aan die Musick (An die Mus1k)

Klankopnames v;in Afrikaanse luislerliedjies Kiankopnames van Jacques Brei. Ed1Lh Piaf. Laurika R.111ch en Elz,1Ue Zielsman

Sk1pskop {GB) Sweef ioos ·n arr:nrl (IOI .Y.15 rk 111,1ilr 11 d1~1 er (40) ~1~11 IY iousdf ( 11 l 1.lorc(O)

Tf:MA - lnsln11nenlale en vokale m11s1ek MODULE t I. Klawerbordinstrurnente DOELSTELl.INGS

Om le<'rhn~e aan verskillende klawerbo1 d mslrumcnle bekend le slel

Om leerlin(e van die fu11ks1onithle1t en geleenlhede '"aar die mslrumenle bespeel word. bew1Js le ma;ik

LUbTERM,ITERIAAL

16

l.EERINllOUO

Toonklf'11r - klav1rr smteliseenlcr spmd lknaderrng leerhn~gesrnlrrenl kl.J11es1mbcl. t'lektro111~se orrl'I. pypurrd

:>e111011slrerr instn1menle Oc~eleidings- en soto-m'itrumenl Sauq Bespel111gsgeleenlhede (kerk. dans. konserlsaall 8el111slenng

LmstHvraelys !denl1f1seer mslrumenle

Onclerwysme•lla

frnpro1eklor en transp.uanle K.lssetspe\er en kasselle Prer1le van mslnimenle

Kl.1nkopnamcs ·1an mslrumenle WiJl m die morlule hehandel is Spaanse k1luc \60) Tokkel die kilm {7·1\ lt'ugsangbundel nr 21 (29)

I 7

r-O_t_1f:_L;_Tf_]_.l.l_1't_;s _________ -+-'-l.~t:i~:li~l,'i~li_lll~lll ___________ , \)\0,\1\TIE.~r \lit;\,'~-[ ---+--DA_Tl_!\1--i I

Om leerhuge hewns te nia;1k Vflll dit> leef11crl'ld I .' ~an kompomsle

0111 lcrrhn~~ \1(·kr11tl le ~ld .1.111 ihr ~ w11sieku1lclr11kkinesmuldcle w.il verlcc11woor digcnd 1s in 1.101·111't'bhr.r se wcrk

1.i 'l.iTf.R~I \Ti':li\ \,\\,

i\11drf'1~ Um D WtllilER All I ask ol you Don'l cry for me Argcnlma Varialionsl-·1 Requiem - Pie! Jbu Memory Phanlom of Lhc opera

On~ !ewe en wcrk 'lilO Uoy<l \1rhhcr

Tonn~l~·1ir - lwllo Rockr11kr.<; 11111 mom~ - l\l;1~<itP.ke slyl llod:;lyl lMmc - srnkope l/orm - lt:m,, en \ilrlols1e

!lie rn1J~·1c.1I (mu<;1ekhl:;:pf'I\ D1t' r~11111em

L\f:Ol\AT£Rl,\A\.

Memorv (9l Uon l cry for me Arg~11t111a

No more lalk 0f di11kness

ncnader1n~ lr>crling~esentreerd

S;.n~ llel111sler111~

Grrwpbrsprekmg lnvul van blol.k1esraa1sel

Ornlrrwysmrdta

r, 11rro1e~tor ~n lr.1nsp.1ranle t\asselsp1'lrr 1?11 ~,1ssdle ~l,1Vlf!I

l'l'

TEMA - llerklines (genres) en vorme SENIOR SEKONDeRE f'ASE l.tO!llJl.f. 11 Vnrinsies DOF.L'iiELUNGS LEEHINllOIJD DIDAKTIESE RIGl.YNE D

I Om leerlinge hekenci le slel aon tema "' I Vorm - lema en vant1sie Benadenng leerlinggesenlreerd V<1r1asievorm llers1en fugi\vorm

liers1en AO.i\-vorm Sang Oelu1slering

2 Om leerline:e bewus le maak V\ln verskil\ende 2. Meloche - majettr/mmeur. ornamenle Lu1slervraelys m11sieku1tdrukkingsmiddele Wltl variasievorm Rilme - sinkope. maatsoorlw1sseling lnslrumenta\e spel leweeg kan bring Toonkleur - 'Wha-1vha' demper (mule) by Krealiw1le1l (\eerhnge skep eie

ko per blaas1 n sl rumen le vanas1es mel laosle lied) Slyl- Kkisstek. Romanlies. 1azz. mililfre mars

Onderwysmedia -....."~<

1 Om leerlinge bewus le maak van die individuele J Kompomsle - Haydn. Chopin. Rossini. Wagner sl yle van kompomsle Slrauss. Meyerbeer Tn1projeklor en lransparanle

Kasselspeler en kasselle Melodiese en nie-melodiese slaginslrumenle Klav1er

LUISTl:RMATERIML LIEOMATERIAAL

Lucien CAIWET: Variasies op 'Pop goes the weasel' Terna - Schubert forellekwinlel Wolfgang A MOZART. Variasies op 'Ah. Yous Oira1-Je. Maman' K265 in C Ek soek na my Dina (20)

maj Llefde lmmergroen (41) Siegfried OC\IS Variasies op 'Mrikaners is plcs1erig' Ob-la-di. Ob-la-da (65) Franz SCHUBERT. Die forcllekwinlel opl 11 in Amaj - Ide dee/ Green grow the Rushes. Oh' (50)

19 TEllA - Werklipes (genres) en vormc I SENIOR S8KONlleR~ f'AS~ MODULE 14: Naboolsing. kanon en fuga DOELSTELLINGS LEERINllOUD lllOAKTIESE RIGLYNE DATUM

I Om leerlinge van kanon en !uga as werklipes I. Konlras. herhaling. naboolsing as Bcnadenng· leerlinggesenlreenl bewu:s le maak musiekorden1ngswyse

Sang 2. Om leerlinge Yan die musiekuildruk- 2 Vorm - vraag- en antwoordeUekte. lerm. Beluislenng

kingsmiddele. wal in kanon en fuga gebruik kanon en fuga Luislcrguls en -vraelys word. bewus le maak Harmonie - meerslemmige teksluur Groepwerk

Graficse nolasie J. Om \eerlinge n onderdeel van vorm le laal J. tiedere - kanons

onldek Onderwysmed1a

Trnprojeklor en lransparanlc Kasselspelcr en kussellc


MANOOZZI: Bach & Handel J.00 (eleklronim verwerkings van J S Bach Jeugsangbundel nr 9. 61. 62. 64 (291 en G F Handel se musiek) Kanons uil die FAK (20)

Uillreksels uil opnames van gesk1kte gewyde liedere vir die jeug Sing onder mekoar (57) Calypso (22) Swing a canon (39)

TEMA - iferklioes (2enresl en vorme SENIOR SEKONUellE F'ASE MODULE 15: Verhoo2musiek DOEl.SfEWNGS LEERINllOUD DIDAf:TIESE RICl.YNE DATUM

I. Om Jeerlinge se algemene kennis met belrekking I. Konserleltkel len ops1gle van 13enadenng leerlmggesenlreerd lol konserlelikel uil le brei opera

ballel By"oon van konserle drama Oel111slenng konserlmus1ek (s1mfon1e) Sang

2. Om Jeerlinge bewus le maak van die Uilvoerende 2. Regisseur Onderwysmedia Kuns as beroep Beliglingsasstslenl

Dekoronlwerp Trupro1eklor en transparanle Kosluumonlwerp Kasselspe!er en kasselle Verhoogbesluurder Programonlwerper Skrynwerker Musici


Uitlreksels uil enige ballelmusiek Hello Dolly (43) Uillreksels uil enige operamusiek Fiddler on lhe rool (43)

Mr. Misloflelees (DI

.;ll

TEMA - Beskrvwende musiek I SENIOR SEKONDeRE FASE ' --MODULE 16: Voels en musiek DOEL'iiELLINCS LEERINHOUD DIDAKTIESE RIGLYNE DATL:•t

I Om leerlinge bewus le roaak van musiek as nie- I Mus1ek wal voflgelu1de nabools Oenadering: leerlinggesenlreerd verbale kommun1kasiemiddel wal voetgeluide kan nabools Sang

Beluislering 2. Om leerlinge bewus le maak van 2. Melodie - herhaalde note (hen se gekloek). lnslrumenla/e spel

musieku1ldrukkingsmiddele wal verskillende slygende/dalende toontere. so-mt inlerval Krealiw1le1l: omgewmgsprojek -klankeffekte en voe\geluide kan bew,erkslellig (koekoek) maak klankopnames van

Tempo - vmnig/sladig voelgeluide m die naluur

I Toonkleur - houlblasers (on<ler andere. cor anglais). slrykers. kilaar Onderwysrnedia I Rilme - rilmiese palrone van voelgeluide : Truprojeklor en lraosparanle

Kasselspeler en kasselle .~elodiese en nie-melodiese slaginslrumenle


Avril KINSEY: African Evenings - ,VaKoro Big rock candy mountain (Sludenlebundel) OliYler MESSIAEN. Eksoliese voeJs (Oiseaux exoliques) Yellow bird (35) PARISH & TOPANO: I am the Royal Falcon lzinlakana (27) Ollorino RESPIGHI: Uillreksels u1l Die Voils (Gli uccelli) Thirty purple birds (22) Jean SIBELIUS: Kalevala - /)ie Swaan Yan Tupne/a Chirpy chirpy cheep cheep (32) SIMON & GARfUNKEL El concor pasa Klankopnames van voelgeluide in die naluur

TEMA - Beskrywende musiek SENIOR SEKONDeRE PASE MODULE 17: Ruimlemusiek DOELSl'ELLINGS LEERINHOUD DIDAKTIESE RIGLYNE DATUM

I. Om leerlinge bekend le slel aan die 20sle eeuse I. g)eklroniese inslrumenle Benadering: leerlinggesenlreerd legnologie en hoe dil die musiek beinvloed hel e1eklron1ese elemenle en die smleliseerder

Sang Belu1slering

2. Om die leetwereld van die komponisle in die 2. Vangelis. Stravinsky en andere Croepbesprekings 20sle eeu wal ruimlemusiek gekomponeer hel. Sien onderslaande lys aan die leerlinge bekend le slel Onderwysmedia:

TruproJeklor en lransparanle Kasselspeler en kasselle Aardbol en prenle van ander planele


The music of COSMOS: Uillreksels van verskeie musieksnille op. die plaal Catch a falling star (32) Richard STRAUSS Also sprach Zaralhuslra Good morning slarshine (32) lg0< SiRAVINSKY. Uillreksels uil Die Vuunoil (Zhar-Plilsa) VANGEUS:. Alpha

Heave~ an cf Hell

TEMA - Beskrvwende musiek I SENIOR SEKONDeRE rASE MODULE 18: Advertensies en musiek DOELSTELLINCS LEERINHOUD DIDAKTIESE RIGLYNE DATU~.!

I. Om leerlinge bekend le slel aan musiek wal by I. Klankmaleriaal wal by adverlensies gebru1k Benaderin~ leerlinggese~treer<l adverlensies gebruik word word

Sang- en praaleffekle 2. Om leerlinge belangrike mus1ekuildruk- 2. $Lemming - 'good life'. ekslasemomenle Beluistenng

kingsmiddele ... adverlensiemusiek le laal Rilme - herhaling/konlras Lu1slervrnelys onldek Groerwerk

3. Om leertinge se krealiwiteil by die maak van eie 3. Gee leerlinge ge/eenlheid om oorspronkhke Onderwysmedia· adverlens1es le onlgin adverlens1esleskep

Trupro1eklor en trnnsparanle l\itsselspelerenkasselle V1deomatenaal Slaginslrumenle

LU!STERMATERIAAL LIEDMATERIAAL

Ludwig van BEETHOVEN: Uillreksels oil - i\in'l she sw1?el (16) Simlonie nr 5, op67 in C maj Take me home. Counlry llome (43) Simlonie nr 6, op68 in r maj (Pasloraal) Pack up your troubles (651

Wo!tgang A MOZART: Klavierkonserl K467 in C maj - .?de u'ee/ (!Jnr•lema)

Cari ORFF: Carmina Burana - () l'orluna Giacchino A ROSSINI: lfilhelm Tell Ouverlure

1'EMA - Slemmin.smusiek SENIOR SEKONDeRE PASE MODUl.E \9: Slemmine in musiek DOEIZIELLINGS LEERINHOUD DIDAKTIESE RIGLYNE DATUM

I. Om leerlinge daarvan bewus le maak dal musiek I. Stemming m mus1ek beeld spanning. liefcle Benadenng· \eerhnggesenlreerd stemming kan oordra vrees. IVOede. ens. uil

Sang 2 Om leerlinge le lei om Yerskillende slemminge. 2. Dinam1ek - konlrasle: piano/forte (spannmg) Belu1slering

soos geskep deur verskillende mus1eku1ldruk- Toonkleur - orrel/grool orkes lnslrumenlale spel k1ngsmiddele. le idenlifiseer Melrum - 6 maalsoorl (vloe1end\

6 Onderwysmedia Melodie - aeohese Loonleer. opwaarlse/afwaarlse bewegmg Trupro1eklor en lransparanle

Kasselspeler en kasselle Klav1er Melodiese en me-melodiese ~lag1nslrumenle


Hector BERLIOZ: Symphonie Fanlaslique op 14 - Irie Jee/ Yesterday 165) KINGS' SINGERS: Ballade van Jimmy Brown (Ballad of Jimmy Drown) Memory 19). Camille SAINT-SAeNS: Simlonie nr 3. op18 in c min {Orrelsimfonie) Morning has broken (60) Franz SCHUBERT: Die Elwekoning (Der Erlkonig) op I I wnle lhe songs 143) Harry VAN HOOF: Mahogany - !ema Giuseppe VERDI: Uiltreksels uil verskeie operas Uillreksels uil verskeie TV-adverlensiedeunljies

TtMil - Stem111i112sm11s1ek I SENiuR moNDellf: rASE MOlllJIE 20: Oorlo!smuS?ek DOl:l.;TEl.LINGS lfflllNllOUll DIOAh TIE:JP. i1MYNE DATU.':

I Om aan lecrlinge le toon dal musiek as me- I ~larsmus1ek - op mars na vcldslag (di.lpper) Oenadenn~ leerlingg~senlrcerd -. \'Cfbale kommumk.1s1em1ddel. emo.sies '" ~lonaie 111us1ek - lerneer~edruh (vt>1:i-l,1t111) oorlogslye kan u1lbeeld Oeluislenng

S,1ng

' Om di~ mu:s1eku1ldru kkingsmiddele. slemmin~ 2 lli!rrnon1e- akhoordverandenn~s U1lken van ;ik~oordverandenngs en loonhoogte le heklemtoon om porlogsmus1ek Vorm - sekwense Lmslcrvraelys ;11111 lcerlinge U('kenr! le slel Tempo - largo/andante Bewegrng

Dinam1ek - hard/sag Toonkle11r - lnslrumenle. kanonskole 011derwysmedia Toonaard - alonalilc1l/lonal1leil. ma1eur/mine1Jr Tr11projeklor en lransparanle Melrurn - 4 6 Kasselspeler F?n kassetle

4 8 Slyl - oorlogs- vol ks-. klassieke_ populere mus1ek Slemming - dapper/verslaan

Llll~Tf:lnl,\Tf:J<IA.<L LIEDMATERIML

The music of COSMOS. Inside lhe heart of lhe Universe Val jou goed en lrek (20) George f llANDtL Die Koninklike Vuurwerksuilc - ,Venue/ We are marclung Lo Prelona (20) Hooked on Classics 3 Uillreksels uil Hooked on Marching When Johnny comes marching home (J5) Hooked on Instrumental Batlle Hymn of lhe Republic (35) ~lagic Concierlo de Aranjuez (J Rodngo) Exodus song (28) Albed W KETeLO£Y. In a Persian Markel SA Polis1e-orkcs Val jou goed en lrck Sound Effects Vuurpellelon Peler I TCHAIKOVSKY. Uillreksels uil die 1012 Ouvcrlure

TEMA - Slemmingsmus1ek SENIOR SEKONDeRE FASE MODULE 21. Gewvde musiek OOEL':i!ELLINGS LEER!NHOUO DIDAKTIESE RIGLYNE DATU\!

I Om leerlinge geesle!1k weerbaar le maak en hul I Liedere UJl die lys voorgeslelde gewyde liedere 8enadenng Jeerlinggesentreerd woordesk,ll van geestelike waarhe<le uit le bre1

Sang 2 Om leerhnge bewus le maak "" die 2 Die lewe en werk van J S Bach en G F Handel Belu1slermg

godsdien:slige waardes van komponisle Groepbespreking

Om leerlinge se algem~ne kennis le verbreed Bespehng van Orff -1nstrumenle

3 3. Die aandee! van spraaksang. die Gregoriaanse wal belref die onlslaan van die gewyde lied gelyksang Onderwysmed1a

Calvyn en Luther in die onlw1kkeling van gewyde mus1ek Truprojeklor en lransparanle

Kasselspeler en kassetle j Om lecrhnge bewus le maak van die slyl en 4. Die oralonum Klav1er

mus1ekuildrukkmgsm1ddele van gewyde mus1ek Melodie - slygend/dalend. spronge/lrapsgewys Orff-mslrumenle sekwense Vorm - rondo Tekstuur - yl/d1gle lekstuur Toonkleur - koor bas. lenoor. all. sopraan. orre!

LUISTERM.~TERIAAL LIEDMATERIAAL

Johann S BACH: Jesus. bron van al my vreugde (Jesu. ble1bel meine Hoor die blye engellied (57) Freude) 'lanl so lief het God die wereld gehad (57)

George F HANDEL: Messias - /la/le/wfi/rqor Jesus bring vreugde (57) Uillreksels uil enige Kersleesmusiek Ere aan God (571

Gesang 74. 88. 90. 96. 97 (4;) Psalm 68. 150 (47) Jeugsangbundel nr 43. 7 (29) Abide with me ( 16) Morning has broken (60) 0. Lord' Shout for JOY (60)

TEMA - Aleemene lemas I SENIOR SEKONDeRE f\SE MODULE 22: Geleenlhe1dsmusiek DOELSTEWNGS LEERINHOUO OIDAKTifSE RIGLYiiE OXTC\I

I. Om Jttrtince bewus le maak vae die verskillende I. Van Uaandag lot Sondag word die Jeeding Benadenng let>rhn~!!1;:senlrcer-.i

slemm1acs•urdes van mustek .hloolgestel aart Yerskdlende ltpes mu~k Siing

2. Om -leerli•g• le lei .om <lie nie-verbale 2. Jlie ballet Belu1slermg kommunikasie van musiek le 11nt.dek -!lie musiekblyspe:I (musical) Croepbcspreking

11elrum - 2- en J-m;1alslag Yorm - konlras en berhaling Onderwysmed1a Melodie - lraps:t>wys en spronge

loonkleur - "'lnslrumenlaal en vokaal Truprojeklor en transparan{e Die 1unksie-:van .die dingenl Kassrlspeler en kas::;elle

~ 1Conserleli'ktt Die concerlo

3. Om lterfing< bewus l• muk ... die J . ]ie onlw1kkeiin& -van die orkes vanaf die ontwikkdin& van musiek vana{ 1750 Barak-. KlassieKe. Romanliese 1ydperk lol

.,andag


JoMnnSBACH: Jesus. Brun 'an a.I mrYf'ttlCde (Jesu. blt1bel llldnc Freudc) Ek wil Ylr JOU (41) Suile nr3 in D mti - ~opr/H.f/-SJ184r Pbil COl.UllS: Anolherdar1aporadisc Aan die einde van die reenboog (41) Frant LISZT: tludenr3in1kruismin(!.Camp1ndl1) Ek lewe (42) Andrc•UOYD WEBBER: Alllukofyou Jantjie (68) Phonlomoftht()pefl

Yuiotiorui1:4 Die Repubhkeinse Marshed (71) 1olr11n1AllO'URT: Simfonic nr~O. k!l50 in 1 min - lsfi!'1NI Sing onder mekaar nr 5 {57) Joaquin RODRIGO: C'oncicrlo de Alln~n - Id.- d«I Gesang J09 (HJ JohannSTlfAUSS. DondcrcnBtibPollte (!lit.er Donner11nd Bhtzlop32t

Op hierdie dag (W) PcterlTCHAIKO\ISKY: lleulckraker Suile (Le Casse-Hoiseilc) - dins 1dn r/1t!Su1Jt!rlrf' VANG[US. C'hlriolsoffirc I.and in die Su1de (74)

The ram m Spam (11) New York (10)

TEMA - Al~emene lemas I SENIOR SEKONDeRE PASE MODULE 23: Klank~olwe en klankoroduksie OOElSl'ELLINGS LEERINllOUll lllDAKTlt:St: r<ICL\',IE D.1TU.'.I ;

I Om aan leerlinge 'n inlegrerende kennis van I Die verskll lussen liggolwe en klankgolwe Benadenng !eerlmg.gesenlreerd Musiek en Fisika te gee Klank - tong1ludmale Jig - lransversale goU

Om ris1es le hoor dal klank sla<l1ger trek as lig Sang Frekwens1es a=HO Hz Oelu1slenng Golflengles Ek~enmenlenng

Akoesliek Demonslrasie van mslrumenle

2 Om leerlinge se algemene kennis aangaande die 2. Ekspenmenlerlng met s1mbale ongeveer 200m Onderwysmedia timbre en produksie van klankgolwe uit le brei ver

Klankproduks1e van - slrykers. koperhlaas. Welenskaplike apparaal {Fis1ka houlblaas. slagwerk en die menshke stem llandboek Sl Bl

Trupro1ektor en lransparante Kasselspeler en kasselle


Klankopnames van eleklroniese en akoesliese inslrumenle The Alley cal song (43) Consider yourself (6)

TEMA - Algemcnc lema~ ll!Ql!!!1J 2t F.valuering - blokkicsraa1sc·I I TlifF.1.SffllJNl:S

I! I

Out lrerlinge se a!gemene kenms deur korl m11sicksnille wal o:s le1dn1<le <lien.le lot'ls

Om !rerhnge h~wus le maak van Jie ko1 rekle spt'lhng van mus1e~lerme soos m nr I se !etnnhoud

l.lllST!:1~1,f,\T£RJ.\.\L

[ SENIOH 2F.KONDef(E f\~f.

l.F.F.lllNlllll'D

l.uislt:rvraelys han<lel oor. Ndrne van mslrumente M11<;j('klrrml'

Kompontsle Popgroepc Kunsltniwrs l'empo (slnd1g/vm111g) Orkessoo1 le - s1111forue. jazz. pop. country. ens T1lds van ht'dere eu kli.1ss1eke werke "euwys1es oor dte radio en op lV .Genres - opera. ballel. musicals ~<lvcrlcusiedeunljies

M11s1eklerme Ko111pon1sle Popg:roepe Kunslenaars Soos in nr I h1erbo genoem

LIEDMATERl.eAL

Ongevcer 60 - 100 sckondes van die heken<lsle gcdcelle.s van bogenoemde mus1ekl1pes ku.n in enige volgorde gespeel word · Teenslclling lusscn klass1eke mus1ek. popmusiek en ander musiek behoorl mgesluil le word om vervehng le voorkom

OIO.\KTIE.;F. f(ICl.YNE

Uenadenng h:erhngge~cf!lreer<l

Bel11t~lmng

lnvul van blokkiesraa1sel l\orrekle spe!tmg word gckonlroleer

Onderwysmed1a

Trupro1eklor en lr<in~p11fi1nle l\o.ssctspc::!er en kossettt'

·:y:_

ALFABETIESE BRONNELYS V!R LIEDNIATERIAJ\L

Die nommcr voorann ell;c hundel is die nomrncr wilarna verwvs word in hnkics nn

die liedere in die modules.

I Africon Songs African ~lusic ~ociety ') Afrikoanse Trcffers Deel 2 EMHlrigadicrs Musick '-·

3. Alleluia 77 Songs for hihing A & C Black 4. Appusskidu: Songs for Children A .1< C ntack 5. A Book ol Rounds Penguin 6. Bumper Book ol F'ilm Music International ~lusic Publications 7. Bumper Book ol Pub f'ovouritcs 2 International Music Publications 8. I 00 + Buskers • International Music Publications 9. Cats - Andrew Lloyd Webber F'aber Music

10. Children's all day every day songbook International Music Publications IL Children's birthday songbook International Music Publications 12 Choral folksongs of the Bantu Chappell 13. Christmas Carols Book I & 2 Penguin 14. Cliff Richard - Golden Greats EMI Music Publishing Lld 15. Easy Mix 'n' Maleh Universal Edition

"16. f'amily Songbook Reader's Digest 17. F'AK Lekkersing liedjies l F'AK 18. F'AK Lekkersing liedjies II F'AK 19. F'AK Lekkersing liedjies Ill F'AK 20. F'AK Sangbundel f'AK 21. F'irsls and seconds (Book 1 & 2) Oxford University Press 22. f'lying a Round (88 Rounds and Partner Songs) A & C lllack 23. Die Geloolsbelydenis en 15 Deskanle NG Kerk 24. Die Goue Gerl SA \'olkspcleraad 25. Graduated Rounds Novello 26. Harlequin A & C Black 27. Hlabelela Mnlwanami - Sing. my Child Ravan Press 28. Jazzylophone Scholl 29. Jeugsangbundel NG Kerk-uilgewers 30. The Jolly Herring: 77 songs - folk and pop A & C lllack 31 Joseph and his amazing lechnicolour dreamcoal Lloyd Webber 32. Juke Box A & C Black 33. Kinders van die Wind - Koos du Plessis Talelberg 34. Koroalboek NG Kerk-uilgewers 35. Making Music your own Silver Burdell

~\

36. Mango spice: 44 Caribbean songs 37. Meerslemmige liedere vir die hoerskool 38. Mix 'n · Maleh 39. Music 40. Musiek van Bies Bridges. Die 41. Musiek van Chrisla Sleyn. Die 42. Musiek van Rina. Carike en Anneli. Die 43. New 72 Gianls. The 41. Okki-Tokki-Unga 45. Oklahoma 46. Oxford School Music Books. The 47. Psalms en Gesange 48. Scripture in Song Books I & 2 49. School Hymn Book or lhe Melhodisl Church. The 50. Seconds and Thirds 51. Second Youlh Song !look. A 52. Scleclions from Gilherl & Sullivan 53. Seven Sea Shanlies 54. Singa Linga Longa 55. Sing a Round 56. Sing Care Away (!look I - 4) 57. Sing onder mekaar 58. Sing Togelher 59. Sing vrolik saam (3-slemmig) 60. Someone·s singing. Lord 61. Something lo sing (Book I & 2) 62. The Sound of Music 63. Spirituals Reborn 64. Suid-Afrikaanse kersliedere/ Soulh African

Christmas carols 65. Ta-ra-ra boom-de-ay (Songs lor everyone) 66. Thirly Negro Spiriluals 67. Treasury or Besl Loved Songs 68. Trellers van Sonja Herholdl. Die 69. Two's company 70. Vir ons Volkspelers 71. Volksangbundel van Anna Rudolph 72. Volksmelodiee uil Europese lande 73. Volkswysies (2-slemmig) 74. . VOORinnieKOOR 75. Voorlrekkers Sing 76. Youlh Song Book

A & C Black Nasou Universal Edilion Silver Burdell Tempo-publikasies Tempo-publikasies Tempo-publikasies Charles llanses Music & !looks A & C Black Williamson Music Oxrord Universily Press NG Kerk-uilgewers

Oxlord Universily Press Oxrord University Press

Oxrord Universily Press Maskew Miller Longman Penguin Novello NG Kerk-uilgewers· Oxrord Universily Press Nasou A & C Black Cambridge Universily Press Williamson Music Cambridge Universily Press

Voorlrekkers A & C Black Oxrord Universily Press Reader's Digesl Son-Produksies Schorield & Sons Volksang en spele DALRO DALRO Nasou Voorlrekkers Voortrekkers Oxrord Universily Press

BYLAE D

1992-KLASMUSIEKSILLABUS VAN SKOTLAND

(CAPITA SELECTA)

THE SCOTIISH OFFICE EDUCATION DEPARTMENT

CURRICULUM AND ASSESSMENT IN SCOTLAND

NATIONAL GUIDELINES

EXPRESSIVE ARTS

5-14

JUNE 1992

INTRODUCTION

How to use these guidelines

The expressive arts encompass the following four subjects: Art and Design, Drama, Music and Physical Education.

Art and Design, Drama, Music and Physical Education may usefully be seen as constituting a generic field in education which places special emphasis on developing creativity, imagination and personal response in individual pupils. However, each subject represents a unique combination of ideas, skills and knowledge and each should, therefore, be regarded as an important element in the curriculum in its own right.

The advice in these guidelines is based on existing good practice in the design, planning and implementation of policies and programmes for the learning and teaching of the expressive arts in Scottish schools.

The guidelines will help headteachers of primary and secondary schools and principal teachers of Art and Design, Drama, Music and Physical Education to undertake a systematic review of the provision made in each school or department, and, with the involvement of class and specialist teachers, to adjust and develop programmes of work along the lines suggested. This process should help to ensure that all pupils, regardless of age, aptitude or physical or social circumstances, enjoy an educational experience in the expressive arts which is coherent, continuous and challenging.

The starting point for such a review will be the school's or department's own policies, which will have been developed over a number of years, taking into account local circumstances, priorities and resources; and Education Authority guidelines and advice. These should now be reviewed in the light of the Rationale (Section 1 ), which sets outthe nature, purpose and aims of the expressive arts and of each subject; and introduces the attainment outcomes and strands. While the rationale is unlikely to represent a radical departure from existing practice, there may be a difference in emphasis on particular areas of provision which will need special attention or development, in order to achieve the kind of breadth and balance suggested.

Any review and adjustment of policy will mean that programmes or plans of work will also have to be carefully reviewed. To help with this process, Section 2 of the guidelines sets out the main features of progression for each of the four subjects of the expressive arts. The structure of each subject is outlined in the rationale by means of three broad attainment outcomes, common to all four subjects. These attainment outcomes identify the main kinds of expressive arts activities in which children should take part. They are: using materials, techniques. skills and media; expressing feelings. ideas. thoughts and solutions; evaluating and appreciating. Within each outcome are listed a number of strands or aspects of learning which pupils should experience; most strands have attached to them attainment targets at five levels of attainment (although some strands are described at fewer than five levels, or in a more general way).

These targets represent a progression in attainment within the strand, each target demanding more complex or sophisticated knowledge, understanding or skills than the previous one. A careful audit of existing programmes against this framework will help to ensure that all the important aspects of each of the subjects of the expressive arts are covered; that programmes from one stage to the next represent a reasonable progression for pupils; and that work is properly differentiated so that all pupils are presented with work which is both appropriate to their abilities and sufficiently challenging.

This process of adaptation and development will be informed by the programmes of study immediately following the set of attainment targets for each subject. The programmes of study show

!x

some of the ways in which learning and teaching activities outlined in Section 2 can be planned in relation to the attainment targets for each subject. Again, much of what is already offered in schools will probably continue to be suitable; but the suggestions in this sectirin ..,;11 infor~ .~:<'cn~;::i-:2 and amendments to current practice.

The advice given in Section 3, Catering for the Needs of Individual Pupils, will help teachers to adapt their programmes to the needs of each individual pupil and particular groups of pupils. Advice is included here about learning and teaching for pupils with learning difficulties, and for pupils who need challenges beyond those offered at Level E, which is the most advanced level of attainment described in this document.

The national guidelines Assessment 5-14 explain how assessment should be developed as an integral part of classroom learning and teaching, and will be the main source of advice and support to schools about how to develop their own assessment policies to complement developments in the curriculum for pupils aged 5-14. Section 4 of these guidelines offers additional advice relevant to assessment and recording in the expressive arts. Together with the separate guidelines on assessment, this advice should help schools and departments to review and develop existing assessment policies and build assessment procedures into classroom programmes, so that they support learning and inform teaching.

Section 5 of the guidelines addresses several specific issues relating to the content and scope of the expressive arts in the curriculum, about which teachers often express uncertainty. The advice and ideas in this section should help to answer teachers' questions and increase confidence in addressing these issues.

These guidelines for the exp;~ssive arts offer advice about matters as they relate specifically to this part of the curriculum. Some of these matters, and other important issues such as equal opportunities, which should be considered in developing whole-school policies in cross-curricular contexts, will be developed and discussed in later materials.

Section 1

RATIONALE

The nature and purpose of the expressive arts

The expressive arts play an important role in the education of all pupils. They encourage the exploration of values, foster imagination and creativity, develop practical and perceptual skills and promote intellectual and aesthetic development. More particularly, they:

promote distinctive ways of understanding self, developing individual abilities and finding personal satisfaction and enjoyment

The expressive arts enable pupils to shape, make sense of and express personal experience. They promote understanding of the importance of personal fitness and good health, a sense of physical, mental and emotional well-being and opportunities to experience emotion and responsibility. Knowledge of self leads to the recognition and development of specific talents; creative experiences provide opportunities to develop imagination and independence of thought, judgement and action. Pupils can collaborate and compete with one another and encounter successes and setbacks. Acquiring skills and experiencing pleasure lead to commitment and worthwhile use of leisure through childhood and beyond.

emphasise particular ways of communicating with others

Through the use of the skills, techniques and resources of the expressive arts, pupils learn to communicate with others and to interpret and respond to the different ways in which others communicate. This requires the development of presentational and recording skills. Positive attitudes to others are also developed as pupils work together. Awareness of the mass media and their influence on thinking, behaviour and attitudes is heightened.

develop aesthetic awareness

Participation in the expressive arts develops the imagination, makes pupils more sensitive and responsive to the environment, heightens critical awareness and contributes to the development of personal taste. The expressive arts develop a range of aesthetic values.

make an important social and economic contribution to our society

Social and economic development in society depend on individuals who have the capacity to think and act creatively, meet challenge positively, find imaginative solutions to problems and show initiative and enterprise. The personal and social skills developed through this area of the curriculum are valued in contemporary society. Those who wish to pursue a career related to the expressive arts should be encouraged in the knowledge that both society and the economy benefit from those who make such a choice.

develop an awareness of our heritage

The expressive arts provide insight into the human and social condition and make a contribution to social change and development in all cultures. Knowledge and understanding of our own and other societies is deepened through familiarity with and involvement in the expressive arts.

II

The aims of the expressive arts curriculum

GENERAL AIMS

To promote pupils' affective development by involving imi:ly1nation; aesthetic awareness; response to internal and external stimuli; expression of ideas, thoughts and feelings; crilical appreciation.

To promote pupils' physical development by extendinQ sensor{ discrimination; psychomotor skills; co-ordination: aural, visual and tactile awareness.

To promote pupils' cognitive development by includirig questioning, reasoning, problem-solving ·and decision-making; creative, imaginative, divergent ·thinking; gaining, selecting and using information; developing good learning strategies; applying knowledge and understanding; evaluating the work ofse!(and others ..

To contribute to pupils' personal development t>y encouraging independence of thought, informed. judgement and action; the development of personal qualities, abilities and a sense of achievement; the ability to cope with emotions and a variety of experiences; the development of posilive attitudes to self, others and learning; the recognition of the importance of good health and physical well-being.

To contribute to pupils' social development by encouraging appreciation of the value of cooperation and the need for rules, responsibilities and acceptable behaviour: understanding, tolerance, honesty and impartiality in dealings with others; an appreciation of the enjoyable and worthwhile nature of leisure; care of the environment; recognition of career opportunilies.

To promot:dn awareness of cultural heritage, value:11 and diversity by encouraging recognition and understanding of cultural inheritance, traditions and values; making comparisons with other groups and cultures; understanding the universal need for personal expression and communication.

AIMS SPECIFIC TO ART AND DESIGN

Art and Design activities promote discovery and understanding of ideas and feelings and provide a means of expressing these visually. Through Art and Design. pupils develop their capacity to invent. create and interpret images and objects: design, make and evaluate: and gain insight into technological processes.

Art and Design sho,uld provide all pupils with opportunities

to consider. select ilnd organise materials and media and develop knowledgo of tecilniques. processes and skills. appropriate to lile activity and to tile individual's stage of develooment. in a leaming e11vironme11t wlricil stimulates awareness and imagination:

to use feelings. imilg111at1011 a11d memory to develop. express and comm1miccJte 1de.is and solutions:

to enjoy and appreciaM tlrelf own art and t11at of others. and to becom11 aware l'' t11e 111i!uence ol plac1~. t111m. cul/um . ind 111atem1I on tile images and ob1ecrs invenred and cri?dted /Jy artists. designers and cra//spl.'ople:

to become more ;m•an1 ol t/11~ visual envlfonment and tlreir relat1onsl11p ru 11

2

AIMS SPECIFIC TO DRAMA

Children from their earliest years use imaginative play to explore, order and make sense of themselves and the world about them. Drama extends and builds on this natural process.

Drama should provide all pupils with opportunities

to reach new understandings and appreciation of self, others and the environment through imaginative dramatic experience;

to communicate ideas and feelings through language, expression and movement, in real and imaginary contexts;

to develop confidence and self-esteem in their day-to-day interaction with others;

to develop sensitivity towards the feelings, opinions and values of others through purposeful interaction;

to develop a range of dramatic skills and techniques.

AIMS SPECIFIC TO MUSIC

Music is an important part of social culture. Within the school curriculum, music can enrich the lives of individual pupils and promote their personal, intellectual and social growth.

Music should provide all pupils with opportunities

to take an active part in music making, to invent music and to listen and respond to music;

to realise their full musical potential, whatever their abilities;

to prepare for a lifetime of musical experiences and enjoyment through the development of musical skills, knowledge and understanding.

AIMS SPECIFIC TO PHYSICAL EDUCATION

Physical activity is essential to the growth and development of children. Physical education offers opportunities for the development of physical competences, social skills, fitness and a healthy lifestyle.

Physical education should provide all pupils with opportunities

to engage in purposeful and enjoyable physical activities;

to develop physical skills, knowledge and understanding of the concepts involved and the ability to apply these in various contexts;

to develop self-awareness, confidence and co-operative relationships with others and the ability to meet challenges presented in a vanety of physical settings;

to develop life-long positive attitudes to health and fitness;

to develop critical appreciation of their own performances and those of others.

3

Allamment outcomes, strands and a11a111meni :arg~·:,,

Attainment outl:cmes are broad statements of knowledge. understanding. experience. skills. techniques and attitudes to be acquired by pupils. In the expressive arts curriculum. three attainment outcomes have been identified. applicable to each of the subjects. as representing the main kinds of expressive arts activities in which pupils take part. These are shown in Figure 1.

EXPRESSIVE ARTS

I I 1 I ART AND DRAMA

PHYSICAL DESIGN

MUSIC EDUCATION

I I I I

ATTAINMENT OUTCOMES

I I

USING MATERIALS, EXPRESSING EVALUATING

TECHNIQUES, SKILLS FEELINGS, IDEAS, AND

AND MEDIA THOUGHTS AND APPRECIATING

SOLUTIONS

The three attain.men! outcomes are:

using materials, techniques, skills and media;

expressing feelings, ideas, thoughts and solutions;

evalu~llng and appreciating.

These three outcomes have been chosen to ensure that in each subject of the expressiv€ ill IS. the full breadth of activities and processes are experienced and knowledge and understanding gained. This does not mean that the order has particular significance, or that each outcome should have equal weighting or allocation ol lime. In the normal learning and teaching situation. the su1111icls ol the expressive arts curriculum and the outcon11~s within those subjects will oflen overlap and be 1n1erdependent. Pupils will explom techniques as they express feelings and ideas. w1ll 111ven1 ;1s they discover processes and will develop strategies for evaluating as tl1ey produce !11e1r own wurh <llld study the works of others. Activities 111 the other areas of the 5-14 curriculum will ofter; •1ivolve outcomes and strands from within the expressive arts.

Within each attainment outcome. and for all four subjects. a number ol strands iia•:e on1:n .01;nt1i1ed as representing key aspects of th1! curriculum. Attainment targets at li·,•r. :::··. ·"~ '11 ;;;:.:''"'1t:-nt

4

provide specific objectives and indicate a line ot progression for each strand. Along with the outcomes and strands they form a basis for assessment and for the construction of programmes of study. Section 2 of these guidelines presents more detailed infnrl)'latinn,rAlating to strands. targets and programmes of study. The outcomes and the strands associated with them in each of the four expressive arts subjects are described below.

ATTAINMENT OUTCOME: USING MATERIALS, TECHNIQUES, SKILLS AND MEDIA

This outcome involves pupils in exploring, handling and using the rich variety of materials and media appropriate to each subject. Through practical activities and imaginative investigation, pupils will gain knowledge and.understanding, learn skills and techniqueR and dP.vAlop expertise, discovering abilities which may then be developed through practice.

In Art and Design, pupils acquire confidence and skill in using a range of materials, techniques and processes through which they can explore and express their own view of the world and respond to visual problems and tasks. They will achieve this by investigating visually and recording, for example when drawing, painting, modelling and taking photographs. Such activities will involve pupils in using media and the visual elements of line. shape, form, colour. tone, pattern and texture. in varying contexts.

In Drama, investigating and experimenting with roles and relationships, through movement. mime and language and features such as props. materials, sound and light can stimulate imagination and understanding and enhance the quality of the pupils' experience. Pupils communicate through action, by using movement and mime. including gesture and facial expression. Through creating and exploring roles and relationships they will learn to observe and listen attentively to others and to use language to communicate effectively.

In Music. through investigating: exploring sound pupils will build up from a variety of sound sources a range of sounds which they can use and develop. As pupils learn to understand and apply the skills and techniques involved in using the voice and using instruments. their performances and presentations will show greater accuracy, fluency, expression and confidence.

In Physical Education, investigating and developing fitness is about knowing how the body works. how to manage ii safely and about enhancing fitness and health through physical activities. The emphasis in Physical Education activities on health and fitness is an important part of health education in the curriculum. Using the body is about knowing and understanding how the body moves; and about developing and-extending a range of skills in practical performance. As pupils progress, their skills should show increasing versatility, accuracy, resilience. rhythm and fluency. It is important that these developing skills be used purposefully: applying skills is about using skills in context. As Physical Education is concerned with the body, an awareness of its capabilities and state of fitness is important.

ATTAINMENT OUTCOME: EXPRESSING FEELINGS, IDEAS, THOUGHTS AND SOLUTIONS

Through using materials, techniques, skills and media, pupils create and communicate feelings, thoughts, ideas and solutions. The principal emphasis in this outcome is on personal expression and communication of pupils' real and imagined experiences. Personal expression is a considered and often highly disciplined activity; as they develop and progress, pupils may devise personal styles which are their first real experience of personal expression. Pupils will also have opportunities to investigate design problems and to plan their solutions. Such activities provide a basis for sharing and communicating ideas, for co-operating with others and for developing personal skills, selfesteem and positive altitudes to learning.

5

In Art and Design, pupils will be creating images and artefacts which reflect their perceptions of themselves, their experiences and their environment. They will be engaged in designing, planning and investigating in'order io ar11v& ai solutions to design tasks. Communicating and presenting the results of such activities provide opportunities to clarify their intentions and to share their ideas with others. . ·

Drama offers pupils opportunities to explore human behaviour by creating roles and relationships in a variety of different contexts and settings. There are opportunities for pupils to become involved in designing where, for example, there is conflict which can be resolved by changing and adapting the various roles they have adopted. This process will help to broaden pupils' awareness of the complexities of people's responses to each other and to their environment. Drama is based on group co-operation; communicating and presenting the group's interpretation and resolution of problems are important aspects of the work.

In Music, creating and inventing involves pupils in composition, in the making of arrangements and in spontaneous improvisation. There are opportunities for designing as pupils devise ways, for example, of representing sound in graphic form. Through these activities they will find pleasure in communicating and presenting their work, progressing from very simple creations to inventions which show knowledge of musical structure and a variety of musical skills and styles.

In ,.,nys1cal Education pupils' skills are used in different ways depending on the physical activity and the situation. Creating and designing involves pupils in using their physical skills inventively and in organising their responses to particular tasks in appropriate ways. They will also benefit from cooperating with others to explore meaning, purpose and solutions to problems and sharing those solutions with others. The performance of work is an important part of personal expression in movement and will involve pupils in communicating with others and sometimes also in competing with them.

ATIAINMENT OUTCOME- EVALUATING AND APPRECIATING

As pupils develop their knowledge and understanding, they will start to make decisions and judgements. This process is furthered through opportunities to become more aware of and sensitive to the environment and to the work and opinions of other people, including their peers. This outcome is concerned with active reflection, where pupils are encouraged to look in order to see, to listen in order to hear, to consider, to question and to present reasoned argument, so as to make their judgements and choices more informed.

Pupils frequently evaluate their own work and that of others, including artists and professionals. in ways which vary from an immediate, personal response to considered critical analysis. This process should be made explicit, discussed and harnessed at every stage, to improve the quality of pupils'· work.

In Art and Design, pupils will'have opportunities for observing and for reflecting on both processes and products: in their own work, in the work of their peers and in reproductions, texts, works in galleries and museums, and audio-visual material on the work of artists and designers across a wide range of cultures. They will have opportunities for describing these and for responding to them by making personal judgements and ultimately critical appraisals.

In Drama, observing, listening and reflecting are essential elements in developing an appreciation of the value of both personarcontributions and those of others, as well as identifying what has been learned through the process. Increased appreciation of professional and amateur performances and a greater awareness of the role of mass media can be gained through this process. Pupils can be encouraged to use what they have learned in describing what they have seen and heard and in responding to their experiences.

6

In Music, observing and listening with purpose and reflecting on what they have seen and heard enable pupils to recognise and discuss aspects of music from an informed perspective. They can be encouraged to use this information in describing the music they have experienced; and t.o appl~ the knowledge and understanding gained in responding, to form personal opinions and to evaluate their own music and that of others.

In Physical Education, the skills of observing, reflecting, describing and responding play an important role in extending the understanding of pupils about how the body moves, how techniques are acquired and how improvements in these techniques can be brought about. These skills provide the tools for structuring pupils' thoughts, for making decisions and fer evaluating their own and others' work.

The expressive arts within the curriculum

Implicit in these guidelines is the notion that the lour subjects of the expressive arts curriculum, Art and Design, Drama, Music and Physical Education, are mutually supportive. They"share similar principles, use similar processes and involve similar capacities. Ways of organising the expressive arts curriculum should, therefore, build on these similarities, while recognising the distinct contribution to be made by each subject and the possibilities for profitable links with other areas of the curriculum.

Some of the time given to the expressive arts in the curriculum will be devoted to learning in the expressive arts: that is, developing the various concepts, skills and techniques essential to learning within each of the lour subjects. However, through shared concepts, skills and processes. these areas overlap, interlink and are in some ways interdependent. Work in one subject can motivate, support and develop learning in another and contribute to the creation of a context for learning and teaching which.is meaningful to the pupil.

The expressive arts can also be a useful focus for learning in other areas of the curriculum: they can provide the medium through which learning in other areas takes place. Learning through the expressive arts can develop and reinforce skills and concepts acquired in ocher areas; offer !he means for practical and imaginative involvement and application; bring learning to life and give a depth of understanding and relevance to the learner.

Time allocation and weighting

The Scottish Office Education Department, in Working Paper No. 1 on Curriculum and Assessment in Scotland, The Balance of the Primary Curriculum (1989) suggested a minimum time allocation in primary schools of 15% for Expressive Arts. This includes activities in the areas of Art and Design, Drama, Music and Physical Education. In Curriculum Design for the Secondary Stages (1989) the Scottish Consultative Council on the Curriculum proposed a minimum time allocation of 10% to Creative and Aesthetic activities and 5% to Physical Education for the first two years in secondary schools. Both documents leave an additional 20% of the total time available as a flexibility factor.

While the percentages stated refer only to that part of the curriculum which provides pupils with opportunities to learn in expressive arts, there will be additional opportunities for them to learn through expressive arts in connection with activities in other areas of the curriculum.

It is emphasised that, just as balance and breadth in the whole curriculum is desirable. so it is within the expressive arts. Each subject has its own unique contribution to make and must be given due consideration in an expressive arts programme.

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Section 2

STRANDS, ATTAINMENT TARGETS AND PROGRAMMES OF STUDY

Strands and attainment targets

The three attainment outcomes are common to all four expressive arts subjects. Within these outcomes a framework of strands is used to help teachers identify key aspects of Art and Design, Drama. Music and Physical Education. Figure 2 shows the relationship between the outcomes and strands in the four subject areas.

Figure 2

EXPRESSIVE I ART & DRAMA MUSIC

PHYSICAL

ARTS DESIGN EDUCATION

OUTCOMES STRANDS STRANDS STRANDS STRANDS

USING Investigating Investigating Investigating: Investigating and

MATERIALS, visually and and exploring sound developing fitness

TECHNIQUES, recording experimenting

SKILLS AND Using media Using movement Using the voice Using the body MEDIA and mime

Using visual Using language Using instruments Applying skills elements

EXPRESSING Creating and Creating and Creating and Creating and

FEELINGS, designing designing designing designing

IDEAS, Communicating Communicating Communicating Cooperating. THOUGHTS AND and presenting and presenting sharing,

SOLUTIONS communicating and compeung

EVALUATING Observing, Observing, Observing, Observing,

AND reflecting, listening, listening, reflecting,

APPRECIATING describing and reflecting, reflecting, describing and responding describing and describing and responding

responding responding

Attainment targets are statements which provide specific objectives for pupils' attainment at each of five levels or stages of deveiopr:nent for each strand. This section of the guidelines provides a table of targets for each subject area. giving an overview of progression and balance.

8

Levels of attainm1mr

The attainment targets for the expressive arts are based on the following descriptions of levels of attainment, which are common to all 5-14 curriculum areas.

Level A should be attainable in the course of P1-P3 by almost all pupils.

Level B should be attainable by some pupils in P3 or even earlier, but certainly by most in P4.

Level C should be attainable in the course of P4-P6 by almost all pupils.

Level D should be attainable by some pupils in P5-P6 or even earlier, but certainly by most in P7.

Level E should be attainable by some pupils in P7-51, but certainly by most in 52.

The progression of attainment targets for each strand and in programmes of study is bas~d on the following principles:

the development of the pupil;

the move from simple to complex;

the shift towards greater independence in learning;

the increase in knowledge, understanding and skill in each of the four expressive arts subjects.

Teachers are urged to use the targets in a flexible way. They should be used as a guide to identifying important markers of pupils' progress; to inform the development of programmes for learning and teaching; and as an aid to differentiation in learning and teaching.

Children come to school with a range of aptitudes. abilities and experiences on which teachers can build from the outset; and no two individuals will progress at the same rate or in the same way. Targets should not be used to impose artificial boundaries beyond which pupils may not progress, or to restrict the range of experiences provided for pupils. They describe basic proficiency at each of five levels; they do not in themselves constitute a complete picture of a pupil's development in this area of the curriculum from P1 to 52. What is learned and taught will be much more than the sum total of the target descriptors.

Pupils' progress in the expressive arts will not necessarily be consistent across each subject. A pupil who is particularly adept at movement skills and body management may be successful at tasks set at Level C in Physical Education whilst remaining at Level 8 in Art and Design. Similarly. within one subject, progress will not necessarily be consistent across the outcomes or strands. For example a pupil who plays a musical instrument will be likely to attain targets described in lhe outcome using materials, techniques. skills and media with ease. but may have more difficulty with the activities indicated in the two remaining outcomes. It is important that such pupils should continue to have appropriate experience in all three outcomes.

Programmes of study

The programmes _of study for each subject area outline ways oi delivering the expressive ans curriculum. They include the essential knowledge and understanding, skilis and techniques.

9

MUSIC

It cannot be emphasised enough that pupils gain musical knowledge, understanding and skill by actively taking part in musical experiences. Having learned in this way, the pupil is now free to take control as the performer, the inventor. the listener, and is prepared for a lifetime of musical experience and enjoyment.

The attainment targets and programmes of study offer general guidance to teachers on which to base the teaching and learning of music in the school. They give pointers to possible approaches and optior:is in making up a plan of musical activities to suit their particular pupils, their own abilities, the social environment and the school's resources.

When they are presented with the task of teacliing Music, class teachers may gain confidence and find help from advisers, specialists and colleagues, local guidelines. in-service courses and workshops. radio and television programmes, book and tape libraries. There is much that the non-specialist can do, given support from these sources, to ensure that pupils become actively involved in their musical education. -

Traditional notation is the accepte1:1 written language of music; there will be some pupils who, perhaps in the context of the choir or learning to play an instrument, will find ii important to be able to read music. Much can be done within the context of classroom Music to increase familiarity with traditional notatiorl. Whatever methods are used, it must be emphasised that there is no merit in the learning or teaching of traditional notation in isolation. It should arise from a need, and must take place in the context qt performing or inventing music, thus making ii of practical, ratherthan purely cognitive, use to the pup~.

Progression in Music

Voice

In the early stages, pupils' vocal skills may not be very well formed. They may have difficulty in singing in lune, or managing leaps in the melody; and rhythms may not be accurate. II is very important to avoid any implied musical rejection because of this, and to encourage singing for enjoyment.

As pupils develop, all the basic elements of singir:ig. such as singing in tune, control of rhythm. sense of underlying pulse. will usually show improvement. When basic vocal control is established, a wider range of expression in singing becomes possible. Pupils can be led to experience a sense of achievement as they strive to apply appropriate dynamics and bring more expressiveness into their singing. ··

As further development takes place in the voices of both sexes. it is possible to use the resultant increased tone to improve the quality of sound. Boys whose voices are obviously 'breaking' should be encouraged to sing lightly until they feel confident that they can sing more loudly again. The control of breath and muscles can be greater now. as can be the ability to hold a second melodic line confidently. Pupils are becoming more socially aware and can handle more abstract concepts. The choice of material and songs should reflect this.

As more voices 'break', care should be taken not to strain them during this time. In other respects. tone. volume .and q>ntrol all tend to improve.

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Instruments

·kt 1heeadystages, co-ordination and manipulative skills are developing and help will have to be given in holding or playing each instrument used. Pupils take great delight in experimenting with sound, although their attempts may not be particularly well-organised and there is usually little or no attempt at expressiveness. As much opportunity as possible should be given to each pupil to explore sound, for example in the setting of the music corner.

As pupils develop, growing hands stretch further and many pupils are able to operate individual lingers with increasing control. This, along with better hand/eye co-ordination, facilitates the use of tuned and untuned percussion. Recorder playing, for example, can be introduced al this stage.

It is becoming increasingly common for pupils to have access to some form of keyboard at home or at school and as a result, they may gain a more highly developed sense of harmony and rhythm. In this case there should be no serious difficulty In co-ordination or the playing of all the available instruments. By the early stages of the secondary school, more pupils will be able lo develop competence in playing instruments other than percussion.

Inventing

Most children come to school with a fairly well-devetoped awareness of everyday sounds and will greatly enjoy a variety of listening 'games' which build on this. It has to be remembered, however, that in listening for contrast - high/low, quietAoud - young pupils can usually only discriminate between sounds which differ widely.

When pupils come to compose their first tune, they often feel the need to record it on paper or to tape ii, so that it can be played again. Pupils can now become tremendously enthusiastic and open-minded. Surrounding them with a rich musical environment and encouraging each step made in musical independence reaps rich rewards. If 'given their head', pupils al this stage will often produce very impressive results In performance and inventions.

By the early stages of the secondary school, pupils may be beginning to use instrumental sound fairly competently to form inventions which are more structured and varied in tone colour. Work, particularly uncommissioned, tends to reveal a great deal about their understanding of elements of music and what they want music to do for them. Great enthusiasm is often shown for working on a large project, or putting on a show.

Listening

At the early stages, physical movement~ften accompanies listening to or performing music; and this is the pupil's natural response. Unless very disturbing, this should not be directly discouraged. Indeed, it could be channelled to enhance musical activity and to reinforce concepts such as pulse and rhythm. Pupils will come lo respond readily to a great variety of music: usually without having formed very distinct preferences.

As pupils develop, they will become more critically aware of their own inventions and of the music they hear, and will begin to form definite personal opinions and preferences. They will gradually become much more discerning in their listening and better informed when· expressing opinions or offering suggestions. By the lime they reach 82, they will tend to be much more diverse in their specific interests and levels of commitment to particular kinds of music.

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Useful Terms, Definitions and Descriptions

Pitch is the characteristic of a sound which is often described as 'high' or 'low'. Technically it is determined by the frequency of vibration of a sound source, the sound becoming higher as the number of vibrations per second increases.

Pulse or Beat is the basic time unit of music, to which you can clap, march or dance.

Rhythm describes the different durations of notes and rests which are superimposed on the basic pulse.

Tone is the quality of sound, of voice or instrument, the characteristic which enables differentiation between, for example, a violin and a clarinet playing the same note. 'Colour' or the French word 'timbre' are alternative terms.

Harmony describes the simultaneous sounding of two or more notes, usually producing a pleasing effect.

Melody is another word for 'tune'.

Form is the structure of music, how a piece of music is put together. A - B - A would describe a piece of music written in three sections, the third being a repeat of the first.

Phrasing describes the grouping of notes to form musical 'sentences'.

Texture describes the way in which individual sounds are woven together in a piece of music.

Dynamics is a term covering all the gradations of loudness and quietness.

Expression is the way in which music, sung or played, is interpreted, for example with liveliness.

Notation is the term covering many different ways of writing down music, including pictures, symbols and letter names. As soon as pupils feel the need to record their music in written form, they should be encovrag.ed to find ways which are meaningful to them, and which enable them and others subsequently to play back their inventions.

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OUTCOMES STRANDS

USING MATERIALS TECHNIQUES Sl<ILLS AND MEDIA

EXPRESSING FEELINGS IDEAS THOUGHTS AND SOLUTIONS

EVALUATING AND APPRECIATING

Investigating: exploring

sound

Using the voice

Using Instruments

Creating and designing

Communicating and

presenting

Observing, listening, reflecting, describing

and responding

LEVEL A LEVEL B

For II levels A • E: explore and

Investigate sounds using voices. instruments and everyday objects, recognising differences and contrasts between musical sounds and noise.

• Explore sound quality and become familiar with the ways in which sounds are made and produced. ·

For all levels A • E: sing a wide repertoire of songs representing

Demonstrate some control in pitch and rhythm; • show ability to memorise simple songs containing repetitive melodic and rhythmic patterns.

• Show a greater ability to sing in tune with others; • fit words to the melody where this is obvious; • control rhythm, speed and leaps in melody.

For all levels A • E: ndividually and in groups, play a

Demonstrate abilities in such basic playing techniques as shaking and tapping, keeping the beat while music is played and repeating simple rhythm patterns.

• Play simple melodic and rhythm parts, showing some control over speed and volume, and respond to simple signals of direction in performance.

For all levels A • E: inver music individually and in groups. investigations and explorations.

• Select appropriate sound sources and combine and link sounds to convey effect in a short invention.

• Create simple sound pictures, conveying an imaginative response to a stimulus and demonstrating an awareness of contrasts in music; • devise graphic symbols to represent the music.

For al/ levels A • E: work co-ope1 etively in a group while music making or songs. improvisations, sound pie! res. inventions to the teacher. another

For all levels A E: demonstrate awareness of

• Identify obvious sounds of the environment and classroom instruments: • respond to music with a clearly identiliable mood or character, sensing pulse and speed; • recognise the melodies of songs already learned.

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• Describe the quality ol environmental sounds in terms ol source. volume. dis· tance and location; • discuss the characteristics ol music with a clearly identiliable mood in terms of speed or volume: • recognise the sounds ol instruments whicn have a distinctive quality, eg. bagpipe. trumpet. flute. piano or guitar.

I ATTAINMENT TARGETS I LEVEL C LEVEL D

experiment with a wide variety of sound sources.

• Experiment with ditterenl com bin a lions and qualities of sound lo represent contrasting moods and effects.

• Experiment and explore melodic, harmonic and rhythmic patterns and con· lrasls wilh a view lo using combinalions of sound in inventions.

LEVEL E

• Explore electronic and acoustic el· fects and simple harmony wilh a view lo combining lhese wilh melody or rhythm in inventions.

a variety slyles In which lhe langua~e is comprehensible and appealing lo the age group.

• Sing logelher confidenlly in unison, wilh some awareness of dynamics, phrasing and expression;. • sustain a simple harmonic part.

• Sing logelher confidenlly, in unison and slraighlforward harmony, producing good vocal lone and clear pronunciation, and demonstrating awareness of dynamics, phrasing and expression.

• Sing in unison and in harmony with an appropriate vocal technique and a sense of inlerprelalion, sustaining enjoyment of singing during lhe transilionary period when lhe voice changes.

range of pitched and non·pitched inslruments. applying a variely of appropriate techniques.

• Display two-handed co-ordination in playing straighlforward melodies and rhythms, sometimes using_ a form of wrilten notation, paying attention lo expression and contrasts in Iha music.

• Play confidenlly and expressively, sustaining more challenging melodies and rhythms on a range of inslrumenls, sometimes using a form of wrilten nolalion.

• Demonslrale increased musician· ship and technical abilities whilst play· ing a widening range of instruments, such as recorder, keyboard. xylophone, guilar elc.

displaying imagination and inilialive and using knowledge of sound and structures gained lhro11gh

• Create sound pictures which convey mood and atmosphere, displaying imagination and some awareness of structure; • devise a simplified form of notation lo represent inventions visually.

• tnvenl music which incorporates simple melodic. harmcinic and rhythmic features and shows imagination, some awareness ol structures and contrasts and the ability lo selecl appropriate sound sources; • represent inventions visually in a simplilied form al notation.

• Invent music which uses more complmc musical devices and slimuli, shoi.·1~ 11naginat1on, some awareness al structure. and incorporates inslrumenls which the pupils is learning lo play; • lead others in playing inventions.

inventing, showing a respect for lhe opinions of others. When and where appropriate, presenl and perlorm arrangements, group. Iha rest of Iha class, or a wider audience.

sound and responsiveness lo music in a variety of slyles produced by sell and olhers.

• Recognise the sounds of such obvious groupings as pipe band. orchestra. rock group. choir; • demonstrate aural retention through playing phrases from familiar tunes by ear: • give opinions al own music making and thal of others and accepl and offer suggestions lor improvement

• Identify music in a variely of idioms. eg. Scottish traditional, folk, and jazz; distinguish the sound qualilies of woodwind. brass. percussion and siring sections; • discuss lhe ellecl cl lhe use of particular instruments on lhe mood and character of music: • demonslrale aural perception by working out familiar tunes by ear: • g1ve1accept conslruclive criticisms of perforrnmg and inventing.

45

• Recognise simple concepts such as repetition, sequence and pallern learned through exploring and inventing music; • distinguish between acoustically and electronically produced sound: • identify and discuss lhe lealures and characteristics of various musical slyles, eg. folk. classical. pop and jazz; • suggesl and juslify ellec11va combinations of instruments; • g1vuiaccepl conslruclive and inlormed cri11c1sms ol performing andinventtng.

. . . MUSIC "_.'.. r.· . In all the strands, the emphasis should be on enjoyment.

OUTCOMES

USING MATERIALS TECHNIQUES SKILLS AND MEDIA


STRANDS

lnveslfgatlng: explorlng

sound

Using the voice

LEVEL A

Pupils may explore sounds they can make with their voices or bodies, eg. hum, clap; sounds of everyday objects, eg. rustling paper. sounds of the environment, eg. fire engine; sounds made by classroom instruments. including those made by the pupils themselves; sounds made by computer software, ii available. As pupils become familiar with the sound of each instrument, they can also learn the name, simply through lhe teacher's frequent use of it.

Contrast in music, eg. fasflstow, smooth/jumpy, higi11tow etc. should be fully investigated, and its effect and uses discussed and explored. Sound exploration can be organised as a class or group activity, or with two or three pupils working in a music corner, with or without the teacher.

Pupils may take part in singing many nursery rhymes. action songs. singing games. songs for assemblies or concerts. simple songs from other countries. and some Scottish songs.

Difficulties in starting and stopping can be helped by practice games. such as lhe teacher and pupils singing alterna1e lines of a well known song. Where there · is a member of staff able to play. the use of pian01keyboard/guilar is an asset. bul by no means essential. Care should be taken to pitch the songs comfortably within ch1ldrens' vocal range.

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LEVEL B

The exploration of a wide range of sounds. started in lever A. may continue now in more detail, involving discussion about quality of sound, volume. contrast etc.

Activilies eg. "Howmanydifferentsounds can you mal<e with a drum?" help to widen the children's imagination.

Children at this stage tend lo have a greater abtlily lo s111g in lune and to control rhythm. speed and leaps in lhe melody. Using lh1s greater vocal control, pupils should sing a wider range of songs appropriate lo the age group. including Scottish and Gaelic songs. songs from other countries and cultures. songs connnected with the classroom theme. seasonal songs.

Pupils may need help and practice in fitting the words lo !he music. where lhis is not obvious, particularly when singing in Scots or Gaelic. The careful sounding of consonants leads lo good diction.

Where there is only percussion .accompanimenr or no accompaniment at all. pupils will benefit from being given help wilh lheir staning notes.

LEVEL C

Exploration may be made into mood in music, and pupils may experiment further with diHerent combinations and qualities of sound to represent different moods. Teachers may have to encourage pupils to produce more subtle sounds, eg. a high long eerie sound which grows louder and then quieter again.

Pupils may sing a wide range of appropriate songs, eg. traditional folk songs and ballads, songs of a popular style, shanties, calypsos, spirituals etc. Concentration at this stage will be on singing with more expression and using appropriate dynamics.

The foundation for singing in harmony may be laid by introducing rounds or songs with simple but eflective harmony added.

I PROGRAMMES OF STUDY I LEVEL D

Most children are enthusiastic experimenters at this stage, and if 'given their head', will often produce very impressive results.

Areas for exploration may include the effects and qualities of sound. rhythms etc. such as are available on keyboards or any computer software for music which may be available in the school; different combinations of sounds to produce special effects which can be used in inventions; simple acoustics of sound and carrying out experiments.

Songs will still be mostly in unison. but more complex rounds and c~nons may be sung. and two part singing. for example with a descant or a lower part. may be introduced now. Songs will cover a wider range of styles. eg. pop. folk. classical. The repertoire of Scotlish and Gaelic songs may be increased, care being taken over pronunciation. Expressive singing will continue to be emphasised.

The child's naturally fuller voice can be used to improve quality of sound (tone) and to produce good vowel sounds with overall attention to diction. Breathing exercises may be used to help the pupils to manage in one breath the musical sentences (phrases; which they can now sense.

47

LEVEL E

Pupils may continue to investigate the musical possibilities of keyboards and of computer software in music. adding the exploration of simple harmony, as well as building up knowledge of the elements of music, and its notation.

The acoustics of sound may be investigated more fully, eg. sound waves, harmonics, acoustical properties of halls.

r.1:· A wide variety and range oi styles may be sung, eg. folk. pop. classical, show. Some songs with simple and attractive harmonies may be included. Good tone. breathing, posture. phrasing, expressiveness will be encouraged. so that the pupils achieve a sense of eflectiveness in their singing.

Al a stage when some children may feel a certain embarrassment about singing, they may benefit from preparing for concerts or shows. which give them a sense of purpose and achievement and provide motivating contexts within which singing takes place.

OUTCOMES



STRANDS

Using Instruments

Creating and

designing

LEVEL A

A good number of untuned percussion instruments is essential ·at thi~ stage, eg. drums, tambourines, bells, triangles, c/aves, guiro, cymbals. Chime bars are perhaps the most easily used tuned instrument. Pupils must be taught care of the instruments from the very beginning.

They will need help with how to hold and play each instrument, since co-ordination and manipulative skills may not be well developed.

Activities may include keeping the beat on an instrument while music is being played; repeating simple rhythmic patterns: adding simple instrumental parts to well known songs.

Inventing should not be attempted unless the pupils have already carried out a good deal of exploration of a wide variety of sounds. Thereafter, inventing will be, for the most part, teachersupported. Starting with short sequences, eg. postman's lootsreps/doorbell rings/letters fall through letterbox, the pupils can progress to lhe simple illustration ol short poems or stories read by the reacher.

48

LEVEL B

Pupils may continue to need help with playing techniques.

Pupils may take part in very simple instrumental arrangements; playing, given instrumental parts to well-known songs; responding to simple signals of direction in performance; and showing some control over the speed and loudness of their playing.

This is an appropriate stage at which to introduce recorder playing. Any pupils playing recorder or wind instruments should be warned of the health dangers ol sharing.

Pupils may create sound pictures using a poem, story or event as a stimulus. They should be encouraged to use contrast as a means of making their inventions more effective. Tape-recording their elforts may help them to concentra1e on the effect they have made and perhaps improve the result.

Pupils should be encouraged to find different ways of writing down their music. As long as the symbols are meaningful and enable the pupil to recall what has been invented, they are acceptable.

LEVEL C

As confidence and ability grow, pupils will jom 1n playing increasingly complex instrumental accompaniments to songs, on tuned and untuned instruments. The use of two beaters should be encouraged when playing tuned insfruments, otherwise fluency will be hindered later.

Much more attention will be paid to expression and contrasts in their playing, eg. loud!quiet, louderlquieter, smooth/jumpy, fast/slow. Pupils may sometimes play by memory and· sometimes use some form of written music.

Since children may now have a greater sense of relationship between different pitches, they may be able to attempt to play well-known tunes by ear, using tuned percussion, such as glockenspiel, xylophone, rnetalophone, chime bars or keyboard.

Pupils' musical imagination will be stimulated through inventing 'sound pictures' or short musical inventions, some of which may concentrate on conveying mood or atmosphere. It will help greatly if the pupils have already attempted the exploration of subtle sounds.

Pupils may attempt clearer ways of writing down their tunes and inventions, sometimes introducing some basic elements of traditional notation.

Other activities might include taking part in the creation of a very simple arrangement of a well known song, eg. "Which verse will we sing and play? Any solos? Any quiet verses?"

Through these activities pupils will have opportunities to develop a sense of structure, eg. a beginning, a middle and an end.

I PROGRAMMES OF STUDY I LEVEL D

Most pupils will now have experienced playing all available percussion instruments and there should be no serious difficulty in co-ordination. As the complexity of the instrumental parts increases, enough time must be given for practice if fluency is to be improved and a sense of achievement is to be attained.

Pupils may sometimes play by memory and sometimes use some form of written music. They may also be attempting to play well known tunes by ear, on a variety of instruments, eg. recorder, keyboard, wind instruments.

Pupils should be encouraged to attempt composition. arrangements or improvisation without necessarily having the direct stimulus of a story or poem.

Teachers should frequently remind them of the importance of structure, contrast. interesting rhythms etc. and should encourage pupils to find clearer ways of writing down their music.

Stimulating opportunities for invention can be created, eg. inventing a jingle for the class radio station pro1ect or inventing a 'rap', and adding simple rhythms and sounds for it. Pupils' inventions can sometimes be included in school concerts.

49

LEVEL E

At this stage, the number and range of instruments available may increase. Any individual children who are learning to play an instrument, should be encouraged to participate in class, as this can enhance class ensemble playing.

Pupils' activities may centre mainly on individual attempts to play melodies on a variety of instruments, usually using a simple score, or work on given arrangements in a group.

At this stage pupils should be encouraged to make fuller and more imaginative use of some of the elements and devices of music, eg. harmony, structure, repeated rhythms. contrast.

Many interesting opportunities for invention should be given, eg. a competition for composing a simple Christmas carol: inventing appropriate music or sound track for a video of, say, the school sports day: within the framework of 12 bar blues, ostinato bass or a synthesiser 'rhythm', improvise in a group using tuned percussion, or any instrument they can play.

OUTCOMES STRANDS


EVALUATING AND APPRECATl'.aG

Communicating and

presenting

Observing, listening, reflecting, describing

and responding

LEVEL A LEVEL 8

For all levels A·E, when children are working together in pairs or small groups, by others. This may mean learning to take ones turn in the sharing and playing 'group responsibility', and exp1>riencing different roles within lhat group. eg. 'conductor', When children sing, play or invent music, there will often be an aspect of presenting al a school assembly. The presenting may be in the context of a more public based on broadcast material. This sharing and communicating with others through desirable.

The teacher should be encouraging pupils to be aware of the sounds around them: "What can you hear in the classroom? In the school? Outside?". Pupils could be taken on a listening walk. In a teacher-led situation, pupils may play many listening and identifying games, eg. playing and guessing instruments or objects hidden behind a screen; guessing sounds on a tape: imagining what is happening from a short sequence of sounds.

Pupils should have opportunities to lis1en 10 a variely of shon extracls of music, some of which may have a story.

In shon teacher-led discussions, Iha pupils can be encouraged lo describe sounds I hey hear in terms of quality (scrapy, tinny} or comparison (like a belt, like a saw}.

Movement is the child's natural response lo music at lhis stage in particular and should be encouraged in such activities as marching, dancing to music of various speeds and moods, or clapping, slapping etc. in time with the regular pulse of the music. Pupils may respond favourably to rhythmic dance music, feeling the pulse and phrasing quite naturally: eg. Scottish country dance music (clap for eight. stop for eight}.

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At this stage children have not usually formed very distinct likes or dislikes and are receptive to a wide variety of music. Many short extracts should be heard, more than once, and discussed in a teacher-supponed situation to help pupils become aware of different ways in which effect is achieved and mood created in music. Many lis1ening games may be. played.

Pupils may conlinue lo listen lo sounds in the room, in the school. outside, describing the quality of sound in more detail and relating volume to distance.

Children al lhis slage usually respond readily lo a varie1y of music and should be encouraged to say what they like or dislike, where possible giving reasons. When the discussion is about lheir own music or that of lheir peers. lhey may also be able to volunteer sugges1ions for improvements.

I PROGRAMMES OF STUDY I LEVEL C LEVEL D LEVEL E

as in all curricular areas, they should be encouraged to work co-operatively and show a respect for opinions offered of a favourite instrument, or learning to try out someone else's musical idea. It also involves the acceptance of a 'scribe'. and sharing it with others. This may be to the teacher, to other groups or the whole class, or to the school, perhaps concert or production, and may sometimes link with other components in the form of a short musical play, perhaps the medium of music is an important aspect of the curriculum, and should occur when considered appropriate and

Pupils may listen to a variety of different groupings, eg. orchestra, choir, jazz band etc. attempting to identify them and the type of music they play. Aspects of the music they t1~ar, such as mood, qualities of sound, contrast, can be discussed.

More complex and discerning listening games may be played, eg. 'Drop Outs' (Five different instruments play at the same time behind a screen. One drops out. Which is it?). Pupils should be encouraged to attempt repeating short rhythmic and melodic phrases by ear.

At a time when most children are beginning to form definite personal opinions, it is important to expose them to as wide a variety ot musical styles as possible. Pupils may attempt in a teacher-supported situation to discuss and give opinions of short pieces of music they hear in class. Other interesting listening material for evaluation might be the sound track of a cartoon, or advert, or a TV theme. "How well does it suit the programme. and why?"

Pupils may also take part in teacherled discussions about their own inventions and those of their peers. "Are you pleased with the result? What did you find difficult? Can you improve it?"

• Pupils should have the opportunity to listen to a wide range of music, eg. traditional and modern, vocal and instrumental , constantly building on the number of characteristics of music they recognise, eg. simple structures, repetition, contrast, the sound qualities of different instruments.

Pupils at this stage still enjoy and benefit from listening games and attempting to pick out simple melodies on instruments by ear .

Great benefit may also be gained from attending concerts, or coming into contact with artistes invited to the school.

Pupils should be encouraged to give more detailed reasons about why they like or dislike a piece of music which they have heard several times, and to justify value judgements made, giving more constructive and detailed suggestions about how to improve the inventions of others. They could begin to learn techniques of 'non-offending' criticism,suchas "/liked .... but/think perhaps .... ". They should also learn to use the constructive criticism of others to improve their own inventions.

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By this stage, pupils should have heard, and may continue to listen to, a variety of vocal and instrumental pieces or extracts, from a variety of musical periods and styles. A number of particular features of music, eg. sequence, ostinato, major/minor, may be analysed and discussed; and the pupils will attempt to use them in their own inventions.

Pupils may now begin to express opinions in greater depth and detail. showing a broadening knowledge and appreciation of music. Specific interests and definite preferences for particular kinds of music may be emerging.

Pupils should discuss the strong intluence of music in society. Activities such as watching a cartoon with and without the sound track, or making a list of the places. situations, or events which would suffer and/or change with the loss of music, will often help the children to focus on how much their lives are affected by music.

MUSIC ACTIVITIES FOR PUPILS BEYOND LEVEL E

OUTCOMES STRANDS BEYOND LEVEL E

USING Investigating: Pupils should:

MATERIALS exploring Through performing and listening activities, con-

TECHNIQUES sound tinue to investigate and explore the creative

SKILLS AND potential of a wide range of acoustic and elec-Ironic instruments and computer software and

MEDIA use these in creating and inventing activities; continue to explore harmony and to develop knowledge of the elements of music and its notation; continue to explore the qualities of sound, including timbre and musical texture, through listening activities.

Using the Pupils should: voice Continue to participate in singing in a variety of

styles in different contexts, eg. in class, choir, chorus in a musical production, small vocal group; continue to develop technique, expressiveness and control, including holding parts in harmony.

Using Pupils should:

instruments Take opportunities to acquire and develop skill on a number of instruments. Participate in solo and group music-making, developing skill in using a score; where appropriate, experience indi· victual tuition with a visiting specialist.

Creating Pupils should: and Explore opportunities to create inventions to a

designing given stimulus; experiment wilh a variety of con-cepts linked with performing and listening activi-ties; explore and use simple scale or chordal structures; invent simple melodies for a variety of purposes in the context of the school; add ac-comparnments to simple melodies involving in-struments used in performing activities.

EXPRESSING Communicating Pupils should:

FEELINGS, Develop confidence in presenting music in a

IDEAS, variety of contexts, within and outwith the class-

THOUGHTS room. for informal and more formal purposes, eg take part in a school concert; collaborate in

AND presenting a musical play: provide an accom-SOLUTIONS paniment for movement, actions or a display of

work

.

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ST ANDA RD GRADE

Pupils should be able to: show awareness of recent advances in technology; acquire a facility in using available instrumental and technological resources to ensure that creative potential is supported by technical skill; develop familiarity with the process involved in different styles of inventing.

Pupils should be able to: confirm choices of first and second instruments, one of which may be voice; one will be used in solo performing, the other in group performing.

f Pupils should be able to: improvise in response to such stimuli as a resticted pattern of pitched notes or rhythm, a chord progression, a poem, story, painting, or environmental theme; enhance composed or improvised music by arrangement, for example through change of style, idiom, harmony. melody, rhythm or instrumentatron; compose a piece of music m a personal choice ol style, idiom and sound sources: use graphic or other forms of notation as appropriate.

Pupils should be able to: prepare a programme of contrasting pieces for solo performance on a first instrument; perform in ensemble arrangements on a second instrument. taking re· spons1b1hty for their own indi· vidual parts; record inventions and performances as required for listening and assessment purposes.

MUSIC ACTIVITIES FOR PUPILS BEYOMD LEVEL E

When reading llus page, 1cilerenc~ ;houla be rrude to P1ogram111es 01 Study

--

OUTCOMES STRANDS

EVALUATING Observing,

AND lislening,

APPREaATtK> reflecting,

describing,

responding

BEYOND LEVEL E

Pupils should: In exploring music through performing and on-ven1tng activities, listen to each othe~ and ex-change views about the eflecllveness and qual-1ty ol solutions and performances; listen to a wide vam!ly of kmds of music, developing awareness of musical devices and techniques used by dif-lerenl composers; widen lhetr li~lening repeno1rn lo include mus1col ouwr counlntts; choose p1t:ces of music for specific purposes or si1ua11ons: dis· cuss the features and quahlles of music ol differ· ent kinds; discuss music and lhe media with a view lo evalua1ing its influences andetlec1lveness; au end concer1s and reflect on personal responses to tile music !hat has been heard.

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STANDARD GRADE

Pupils should be ab/a to· 1aku respons1bd11y tor lhtur own learning by workmg ind1vidualty to set large1s. al !heir own 16vel and pace; gain musical insights through unde1standing a va1;. ety of musical concepts of difle1en1 periods and stylt:J:i~ show Ulldef~l.JnthllC) al COl\Ct!fJIS llt

tht:t1r own pt.Hfornung and ,,,. vtJotmg, demonsu ale cr111cal awa1eness: understand devel· opmenl~ in music of the 20th century including the music of Scollcu1d, rnspond appropridlOly m rehearSdls w11h olh1.;rs.

Section 4

ASSESSMENT AND RECORDING

Undertaking regular and systematic assessment of the work of pupils across the lull range of lhe school curriculum is an essential professional responsibility for all teachers. The assessment of attainment in the expressive arts will take place within the broader context of the school's poircy on assessment across the curriculum. Guidance for teachers on the prrrrciples and pracuce of assessment can be iound in the guidelines Assessment 5-14. whrch giv1:1 advrce on plannrng. teaching, recording, reporting and evalualing pupils' work.

tn the expressive arts. the responses and performances of pupils may be evidence of many aspects of learning: not only knowledge and understanding, skills and attitudes. but also values. in111rests and talents. The professional judgements made in relation to these are cenlral to ellectrve learnrng and teaching in the expressive arts, providing information about progress whrch rs essen1ial to teachers and pupils for planning the next stage for each pupil or group of pupils.

In the past, assessment in this area of the curriculum has often relied on judgements based on vague and subjective criteria. Effective assessment in the expressive arts should involve the consideration of the quality of pupils' work against criteria which are agreed and understood by everyone involved and as objective as possible; they should describe for any particular task or artefact those features which characterise a successful outcome. The criteria for making judgements about successful attainment in particular strands should be based on the attainment targets and programmes of study for each of the three attainment outcomes: using materials, tecl111iques ,skills and media; expressing feelings, ideas. thoughts and solutions; and evaluating and appreciating.

These outcomes encompass the technical, creative and critical development of pupils in the expressive arts and provide a basis both for selecting and structuring activities and tor designing assessment procedures. Assessment should therefore be concerned with pupils' abilities to:

select. control and use media. techniques and skills appropnate to tile task:

generate. investigate and communicate their own ideas and show tllat tlley can de11elop and sustain them in a variety of ways:

describe significant features of their own and others· work and maJ..e iniormed 1udgt1menrs and choices.

Assessment should be the concern of class teachers and subject specialists. rn collaboratron with learning support staff. pupils. parents and others as appropriatH. A vanely 01 approai:l11~s to 3ssessing attainrnen! will 1>1~ approprratfJ, usually i11 the co11t(.jxt of day·t1.H.lay cl;1:;:;100111 ai:trvrlies and interactions wrth pupils. l)tJI somelimes also as assessnuml !asks wlm:l1 h! • .1<.:i11,r:; rh:•11s1·J 10 r.heck the allainrnent of particular aims and targels. Approach1:1s wrll 111cl11<'h~:

o/Jservation of on-going work and ways of working:

o/Jst1rvation of or lister1111g to com,11/eted work:·

discussion oi tlleir worJ.. and responses wit/I pupils:

assessnwnt of pup1ls' wsponst•s to s1wc1:1/ . .1ss1g111111mt:; 01 ;,;,:11::

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In this area of the curriculum it is not only the product which is assessed, but also the process9f working. Preparation and selection of materials for a task, the pupil's attitude, perseverance and the ability to generate ideas should all be considwP.d, as WP.II gs th" 0•1:>lity and characteristics of any final product. Much of the evidence for assessment will therefore be in the form of teachers' notes and informal diaries from systematic and focused observation of pupils at work. Discussion with and among pupils will provide much of the evidence for the outcome evaluating and appreciating and again, evidence of attainment may be in the form of teachers' notes er.d checklists from observation.

Hgwever, activities in the expressive arts quite often produce tangible results and wherever possib'E folders and collections of the various stages oi pupils' work, and any finished product, should be ke. •t as evidence for assessment. Where the produc: is more ephemeral, such as participation in a drama activity or the performance of a dance or piece of music, photographs and video or audio tapes ca 1

sometimes be used as a record of pupils' best work.

Pupils should always be involved in the process of assessment and know why and how they are being assessed by teachers. Carefully used, self- and peer assessment can also be valuable ways of fostering independent learning and critical skills. This could take place, for example, in discussing a particular approach to a design problem or a group's presentation of dramatic play. For younger or less confident pupils, a list of questions to ask themselves or set criteria may sometimes help to focus attention on important features of performance. With older pupils, this type of assessment works best where pupils have negotiated or discussed and clearly understood the criteria against which they will make their critical evaluation of each other's work.

77

BYLAE E

PERSONE MET WIE ONDERHOUDE GEVOER IS

Daar is met die onderstaande persone onderhoude gevoer oar sake wat van belang vir die uitkoms van die studie beskou is. Graag wil ek my opregte dank en waardering aan hulle betuig vir hul vriendelike tegemoetkomendheid en die tyd wat hulle vir die doel aan my afgestaan het.

Prof. J.F. Stuart (studieleier) en Prof. E. Hugo (medestudieleidser) vir waardevolle inligting en agtergrond rakende talle aspekte wat in die uiteensetting van die verhandeling figureer.

Mnr. G.R. Smith (Musiekadviseur in Port Elizabeth) vir waardevolle inligting oor die ontstaan en ontwikkeling van die Kaaplandse Klasmusieksillabus, asook vir insette aangaande kurrikulering vir Klasmusiek.

Mev. H.M. Potgieter, wat intensief by die opstel en bekendstelling van die Transvaalse Klasmusieksillabus was, vir waardevolle inligting oor die ontstaan van die sillabus.

Mnr. H.E. Franzen, Superintendent van Onderwys in Port Elizabeth, vir waardevolle inligting oor die Skotlandse sillabus.

Mev. A. Baines, Begaafde Kind Koordineerder aan die Port Elizabeth Onderwysersentrum, vir inligting oor onderwystendense in 'n nuwe onderwysbedeling, met spesifieke verwysing na die rel van die kunste.

Mnr. D.A. Roestorf, verbonde aan die Departement Skoolkuns aan die Universiteit van Stellenbosch, vir sy insette oor die belangrikheid van die estetiese ontwikkeling van die skoolgaande jeug.

bylae a 1970-klasmusieksillabus van kaapland

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