'Broadening a horizon of expectations': a qualitative investigation of The Mangaung String Programme

Cloete, Elene

doi:10.2989/18121000609486707

Cited by 4 publications

(5 citation statements)

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“…Additionally, Violet travels to various countries, as is the case with South Africa. Violet's relationship with their South African sister orchestra, the Mangaung String Programme (Brenner, 2011; Cloete, 2006; Cloete & Erasmus, 2012), has facilitated several face-to-face interactions, enabling a sharing of authentic folk music between the two countries.…”

Section: Resultsmentioning

confidence: 99%

“…Violet Service: Service dictates a big part of Violet's operations. Soon after the group's inception, Violet established ties with a South African string project, known as the Manguang String Program, which teaches music to historically disadvantaged South African youth (Cloete, 2006; Cloete & Erasmus, 2012). The project has since become Violet's sister orchestra.…”

Section: The Benefits Of Ensemble Participationmentioning

confidence: 99%

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The Violet experience: Social interaction through eclectic music learning practices

Dakon

Cloete

2017

Brit. J. Music. Ed.

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In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic music spaces allow for personal development and nurture self-appreciation. An eclectic ensemble space thus provides a rich alternative to more traditional forms of music ensemble instruction.

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Section: Resultsmentioning

confidence: 99%

Section: The Benefits Of Ensemble Participationmentioning

confidence: 99%

The Violet experience: Social interaction through eclectic music learning practices

Dakon

Cloete

2017

Brit. J. Music. Ed.

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“…These children do not have any access to formally structured music education other than the lessons they receive through the String Programme. In a study conducted by Cloete (2006), the influence of the MSP on both the learners and the society in which they live was investigated. One of the main findings of this study was that the participants in the programme emphasised the musical and social advantages that involvement with a music programme such as the MSP holds.…”

Section: Community: the Mangaung String Programmementioning

confidence: 99%

“…(For further elucidation of the concept see <www.giml.org/mlt_ about.php>). 7 A qualitative study conducted byCloete (2006) shows that community members, parents and guardians recognise the positive advantages a music programme such as the MSP holds for their children.…”

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confidence: 99%

Service learning as part of tertiary music programmes in South Africa: a framework for implementation

Cloete

Erasmus

2012

Journal of the Musical Arts in Africa

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As of 2009 service learning has been integrated into the music programme at the Odeion School of Music, University of the Free State (South Africa), as a compulsory module for final-year students. In order to uphold academic and institutional standards, it was stipulated that the said module had to include mechanisms that would promote quality interaction and engagement activities within a framework that would ensure the implementation and coordination of meaningful, sustainable service and learning.The need for the development of such a module formed the rationale for this study, which draws on relevant pedagogical theories and perspectives on the relation between service learning and the social and educational realms of music in order to formulate a framework for the implementation of quality service learning. It is believed that the framework presented in this article may offer a generic basis for the implementation of service learning at higher education institutions, specifically in music departments.

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“…In the Manguang String Programme, music education students at the University of the Free State (UFS) in South Africa teach music lessons to children in historically-disadvantaged townships and rural schools. In those lessons, repertoire includes Black South African folk melodies and pedagogy features an aural learning approach, honoring the transmission authentic to the Black folk tradition, while fulfilling a compulsory service learning requirement at UFS (Cloete, 2006). Here the content and the mode of instruction are appropriate within a community where this music holds strong cultural value.…”

Section: Implications Of Culturally-responsive Pedagogymentioning

confidence: 99%

Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice

Kindall-Smith

McKoy

Mills

2011

International Journal of Music Education

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The authors propose that best practices in music education require a conceptual understanding of music teaching and learning based on a perspective of social justice and equitable access for all students. Examinations of the relationship between the tenets of culturally-responsive teaching and three dimensions of music teaching and learning (musical content, instruction, and context) are presented: (1) historically, through the identification of neglected African American contributions to Appalachian music; and (2) pedagogically, through the chronicling of social justice content and culturally-responsive instruction as taught in an urban university and public middle school. The implications of issues of power and social justice for music education are further contextualized within the lens of critical pedagogy to uncover possibilities for a 21st century canon of music teacher preparation that will maximize the potential to transform music education practice. ARTICLE The content, historical development and pedagogy comprising present-day music education and music teacher preparation in the United States of America (USA) continues to reflect a predominantly Western European cultural perspective. Consequently, contributions from other cultural traditions often are only peripherally represented in the knowledge base of music education (Green, 2001; Kwami, 2001; Small, 1999; Spruce, 2001). The resulting cultural hegemony inadvertently promotes stereotypes by skimming the surface of global music making and ignoring the ethnic particularities of diverse groups (Johnson, 2004). Researchers in music and music education have demonstrated conclusively that a wide variety of cultural and ethnic groups have contributed to American musical culture; however many of these cultural 'voices' fail to be represented in the choices music educators make regarding curriculum content. For example, research on the history of Appalachian music included repertoire influenced by African American culture, but did not acknowledge African American membership in Appalachian culture (Hay, 2005; Mills, 2007; Suttles & Hopkins, 2002). Similarly, current research in music teacher education often overlooks urban students, primarily students of color, as important voices influencing American musical culture by not addressing the challenge of preparing music teachers to understand diversity (Benedict,

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'Broadening a horizon of expectations': a qualitative investigation of The Mangaung String Programme

Cited by 4 publications

References 0 publications

The Violet experience: Social interaction through eclectic music learning practices

The Violet experience: Social interaction through eclectic music learning practices

Service learning as part of tertiary music programmes in South Africa: a framework for implementation

Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice

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