Die evaluering van 'n musiekgeletterdheidsprogram

Abstract

Background Musicianship is a well-known term in music education. It seems, however that the scope of this term is sometimes differently interpreted. Musicianship is a multidimensional form of practical or reflective knowledge. To function on a master's level of musicianship, is to fully develop and integrate procedural, formal, informal, impressionistic and supervisory musical knowledge. The question arises: how do we develop musicianship? The literature indicates that this question has received a lot of attention, but still there is a dissonance between literature and existing practice: formal knowledge is learnt in abstraction and therefore inhibits the development of musicianship. The emphasis must no longer be on formal knowledge. Learning activities, which keep the concept of musicianship in mind, must be investigated. The musicianship-literacy programme (Musicianship subproject) has been created as a result of this dissonance. The evaluation of the literacy programme is essential to effective education. Aim The main aim of this study was to ascertain which adjustments to the Musicianship subproject will be pointed out. In order to achieve this, the learners' reactions to the music literacy programme were determined. It was also established whether the desired outcomes for the music literacy programme were accomplished. Programme description The Musicianship subproject is a music literacy programme which consists of five integrated teaching-learning activities, namely active music listening, keyboard skills, creative play, listening and writing skills. The learning activities in these teaching-learning activities strive to promote learners' musical experience. Sample The Musicianship subproject has been presented at the School of Music, North-West University. Thirty Grade 4 and 5 learners were selected to participate in this programme. These learners had no formal music knowledge. iv Design and methods The music literacy programme was evaluated according to the Kirkpatrick's Evaluation Model. This model represents four consecutive levels of evaluation. In this study, only the first two levels of evaluation, level 1: reaction and level 2: learning, were utilized. The first level focused on the learners' reactions which were tested through reaction forms, observation, photos and video recordings. The concept of musicianship is incorporated into the evaluation of level 2: learning, namely the increase of knowledge, improvement of skills and a change in attitude. The learning activities presented in this programme, have been divided into groups and evaluated according to the musical actions and musical experience addressed. Results In order for a programme to be successful, the positive reaction as a result is important as well as learning, skills and a change in attitude which have occurred. The learners in the Musicianship subproject showed a predominantly positive reaction. It was also found that the learning activities do not always lie on the same continuum. Some learning activities promote a complete musical experience while others do not address even one of these aspects. Conclusions Musicianship cannot develop without musical experience. The learning activities in a music literacy programme must be thoroughly planned, circumspect and continuously evaluated to bring about musical experience.