Browsing by Author "Impey, Angela."

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The church as a site for non-formal music education : a case study of Bethesda Temple, Durban.
(1998) Daniel, Shirelle Desiree.; Impey, Angela.
Much of the research undertaken on music education in South Africa has been concerned with formal music education and its application in the classroom. In spite of the fact that the majority of South Africans have had little or no access to formal music education, non-formal learning practices have been largely ignored as alternative, and potentially effective forms of music skills acquisition. This study focuses on the church, and the Durban Bethesda Temple in particular, and explores how, in the absence of access to formal music education, alternative learning methods based on generalised participation and musical process, may be conducive to the achievement of highly skilled musicianship. This thesis draws insight from theories proposed by intercultural music educationists, Christopher Small and Patricia Campbell, and ethnomusicologists, Blacking, Chernoff, Nketia and Merriam, whose work has focussed on conceptualisations, functions, roles and contexts of music-making in nonwestern, and Mrican societies in particular. It postulates that when music-making is nonindividualised and non-competitive, and when performance focuses on relationshipbuilding and ritual, rather than on specialisation and spectacle, music learning is achieved through participation by way of aural transmission, imitation and mentorship. In thisregard, the underlying philosophy of education, as is applied in non-formal mUSIC education, is based on the assumption that music is a human capacity; that music-making is process-orientated rather than product-related, and that music can be used to build individual and communal skills and competencies. The discussion concludes by suggesting insights that can be gleaned from the process of non-formal music learning in communal, participatory contexts, namely, the church; and how these insights can signal alternative perspectives to the practices and procedures of South Africa music education amidst current transformation.
Jazz in the classroom : an interdisciplinary and intercultural means of achieving 'arts and culture' outcomes in curriculum 2005.
(1999) Soodyall, Merle Chantal.; Hargreaves, David.; Impey, Angela.
No abstract available.
The mangalam and its significance to Indian South Africans in Kwazulu Natal.
(1999) Francis, Amrita.; Parker, Beverly Lewis.; Impey, Angela.
Weddings have always been an indispensable and auspicious part of Hindu life both in South Africa and in India. This study is an examination of one aspect of Hindu weddings, viz. the vocal and sometimes instrumental recital of songs of blessing and praise. These songs are known as mangalams and have evolved in South Africa in the last century due to various factors. Analysis of the mangalam enables us to understand how traditions and customs continue and change in accordance with changing circumstances. Much of the data presented in this thesis has been gleaned from oral sources and, as such, the methodology of oral history has been extremely influential in the shaping of this dissertation.
Namibian music and dance as ngoma in arts education.
(1997) Mans, Minette Elaine.; Impey, Angela.; Muller, Carol.; Oehrle, Elizabeth Dittmar.
The aim of this thesis is to explore Namibian music and dance, to gain understanding of the character of different practices and through this, to provide teachers and learners in schools with materials suitable for use in the new arts curriculum in Namibia. In order to motivate the need for indigenous cultural materials, a brief historical background to Namibian arts education is sketched, highlighting the effects of colonialism on cultural identity and the separation of music from dance in education. In gathering examples of indigenous music and dance it became clear that for these practices to retain a measure of integrity in schools, new ways of thinking about performance in schools would be required. This leads to a discussion of an approach summarised within the term ngoma, which refers to holism, communality and orality among other things. It is suggested that music/dance as ngoma has a positive contribution to make to Namibian arts education. To support this suggestion in a practical way, I explore the indigenous traditions used to educate and socialise young people. Argumentation follows regarding possibilities of preparing teaching-learning materials in a manner appropriate to Namibian circumstances. A breakdown of diverse characteristics of indigenous music and dance is done in order to help the teacher identify and comprehend the individual characters of Namibian performances. In this way teachers should be better prepared to utilise the examples of music/dance events that follow. Various events are contextualised, described, transcribed and analysed with suggestions for use in the classroom. Finally the ngoma approach, the principles of Basic Education in Namibia, and the new arts syllabi are brought together by investigating some of the possibilities of music and dance as ngoma in schools.
Politics, production and process : discourses on tradition in contemporary maskanda.
(2000) Olsen, Kathryn Rita.; Impey, Angela.
No abstract available.
Representations of musical scrapers : the disjuncture between simple and complex in the study of a percussion instrument.
(1998) Stasi, Carlos.; Impey, Angela.
No abstract available.
Tracking the narrative : the poetics of identity in rap music and hip- hop culture in Cape Town.
(2000) Watkins, Lee William.; Impey, Angela.
Abstract not available
The Zulu umakhweyana bow : Ndabisehlele Myeza and her songs.
(1983) Impey, Angela.
No abstract available