The church organist’s rappers: Redefining roles and strategies in music education

Arts and culture teachers often are ill-equipped to meet the requirements of school music programmes. They labour especially to accommodate the diverse musical preferences of learners. This discussion accordingly describes the implementation of a once-off rap programme at an inner-city secondary sch...

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Bibliographic Details
Main Authors: Rosa van As, Jaco Kruger
Format: Article
Language:English
Published: AOSIS 2014-11-01
Series:The Journal for Transdisciplinary Research in Southern Africa
Subjects:
rap
Online Access:http://www.td-sa.net/index.php/td/article/view/112
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spelling doaj-8fb772144a584102824cb6d2bb3597092020-11-24T20:43:46ZengAOSISThe Journal for Transdisciplinary Research in Southern Africa1817-44342415-20052014-11-0110210.4102/td.v10i2.112100The church organist’s rappers: Redefining roles and strategies in music educationRosa van As0Jaco Kruger1North-West University, Potchefstroom CampusNorth-West University, Potchefstroom CampusArts and culture teachers often are ill-equipped to meet the requirements of school music programmes. They labour especially to accommodate the diverse musical preferences of learners. This discussion accordingly describes the implementation of a once-off rap programme at an inner-city secondary school in Pretoria. It shows the programme evolving fitfully into a remarkably effective synergy between a teacher (trained as a church organist), the formal schooling system, school learners as well as community musicians. However, this synergy was dependent on the teacher relinquishing her cultural and musical preferences in favour of a popular music programme linked to the social experiences of learners. The successful unfolding of this programme demanded that the teacher surrender the conventional status of omniscient, authoritative educator in accordance with the principles of learner-centered approaches. The role of the teacher consequently became that of project coordinator and facilitator, while the needs, goals and actions of learners were central to, and motivated experiential and reflective group learning. Learners applied theoretical knowledge in musical creation and performance, continuously assessed their progress, and redefined their objectives as required. The consequent development by them of a combination of communicative, cognitive, emotional and social skills reveals the value in music education of oral processes of learning, as well as the role of community musicians. It also underscores the value of the school as formal setting of social interaction and education, as well as the indispensable – if redefined – role of the educator.http://www.td-sa.net/index.php/td/article/view/112Action learningcreative artsmusic educationlearner-centered educationrap
collection DOAJ
language English
format Article
sources DOAJ
author Rosa van As
Jaco Kruger
spellingShingle Rosa van As
Jaco Kruger
The church organist’s rappers: Redefining roles and strategies in music education
The Journal for Transdisciplinary Research in Southern Africa
Action learning
creative arts
music education
learner-centered education
rap
author_facet Rosa van As
Jaco Kruger
author_sort Rosa van As
title The church organist’s rappers: Redefining roles and strategies in music education
title_short The church organist’s rappers: Redefining roles and strategies in music education
title_full The church organist’s rappers: Redefining roles and strategies in music education
title_fullStr The church organist’s rappers: Redefining roles and strategies in music education
title_full_unstemmed The church organist’s rappers: Redefining roles and strategies in music education
title_sort church organist’s rappers: redefining roles and strategies in music education
publisher AOSIS
series The Journal for Transdisciplinary Research in Southern Africa
issn 1817-4434
2415-2005
publishDate 2014-11-01
description Arts and culture teachers often are ill-equipped to meet the requirements of school music programmes. They labour especially to accommodate the diverse musical preferences of learners. This discussion accordingly describes the implementation of a once-off rap programme at an inner-city secondary school in Pretoria. It shows the programme evolving fitfully into a remarkably effective synergy between a teacher (trained as a church organist), the formal schooling system, school learners as well as community musicians. However, this synergy was dependent on the teacher relinquishing her cultural and musical preferences in favour of a popular music programme linked to the social experiences of learners. The successful unfolding of this programme demanded that the teacher surrender the conventional status of omniscient, authoritative educator in accordance with the principles of learner-centered approaches. The role of the teacher consequently became that of project coordinator and facilitator, while the needs, goals and actions of learners were central to, and motivated experiential and reflective group learning. Learners applied theoretical knowledge in musical creation and performance, continuously assessed their progress, and redefined their objectives as required. The consequent development by them of a combination of communicative, cognitive, emotional and social skills reveals the value in music education of oral processes of learning, as well as the role of community musicians. It also underscores the value of the school as formal setting of social interaction and education, as well as the indispensable – if redefined – role of the educator.
topic Action learning
creative arts
music education
learner-centered education
rap
url http://www.td-sa.net/index.php/td/article/view/112
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