Music Theory 424

A Guide to Reshaping the Music

Curriculum: A Case for the Inclusion
of Local and National Musics as well
as Contemporary Music Theory

Erin Potgieter
21036993
Erin Potgieter
21036993

A Guide to Reshaping the Music Curriculum: A Case for the Inclusion

of Local and National Musics as well as Contemporary Music Theory

Introduction
Several issues exist with the current music curriculum in South Africa. In this essay, I aim to pinpoint some
of the biggest problems identified by researchers, as well as their suggested solutions. I will also include a few
teaching strategies/models before concluding with a rough plan to reshape the current CAPS syllabus to
include Contemporary Music Theory.

Why the Curriculum Needs to be Updated

Traditional approaches to curriculum deal with the mechanics of teaching and assume that these methods work
for all students (Hanley & Montgomery, 2005:17). Traditional teaching is subject centered and assesses
improvement through rigid testing systems, leaving no room for collaboration/mentorship, questions, and
explorations (Hanley & Montgomery, 2005:18). New discoveries in the field are rarely considered or included
(Hanley & Montgomery, 2005:18). Many music educators who have developed successful programs using
old approaches don’t see any reason to change, however, this often results in the music classroom becoming
an elitist space that students dislike and find boring (Hanley & Montgomery, 2005:19).

Globally, lesson time is often focused on the ‘more important’ subjects, resulting in funding being increased
for subjects like mathematics and languages, and reduced for subjects like music (Lerumo, 2018:22). Below
are figures indicating the instructional time allocated for music by the Department of Basic Education for
grades R-12. The creative arts subject includes music, visual art, drama, and dance. Grades R-3 and grades 8-
9 are allocated two hours for creative arts per week, effectively giving each art form thirty minutes per week.
Even less time is allocated for grades 4-7, with a total of ninety minutes allocated per week, each art form is
thus given about twenty-two minutes per week. Trying to cram all of the arts into a minimum amount of hours
per week is unreasonable: each artistic field is complex, meaning that teaching the bare minimum to students
won’t allow for much growth in the subject area and might as well be left out of the curriculum in the first
place. The situation improves slightly in grades 10-12, where music is allocated four hours per week if chosen
as a subject.

“Music class is not simply a stop-gap during the school day during which students can relax between
the ‘important’ subjects; music is more than simply a source of entertainment, more than a means of
raising self-esteem of a relatively small segment of the student population. Music is a discipline as
well as an art. And, like other disciplines, it’s worthy of study for its own sake.”

– Bluestine, 2000 in Malan, 2015:32.

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Figure 1: Foundation Phase Instruction Time

Source: CAPS Music Grades 10-12

Figure 2: Intermediate Phase Instruction Time

Source: CAPS Music Grades 10-12

Figure 3: Intermediate Phase Instruction Time

Source: CAPS Music Grades 10-12
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Figure 4: Intermediate Phase Instruction Time

Source: CAPS Music Grades 10-12

The South African schooling system does well in introducing students to several different subjects, but
students are often ‘forced’ to study material that they aren’t interested in. One could argue that this method is
beneficial because most children or teenagers have trouble deciding what they are truly interested in or change
their minds as they get older. However, as demonstrated by the above figures, some subjects are neglected in
curricula that try to cover too many disciplines. In my opinion, if, for example, a child performs badly in
mathematics or frequently complains about the subject in primary school, then perhaps that child shouldn’t be
forced to continue with said subject in high school. The impact of teaching style on student interest would
need to be considered too when making this decision, but in an ideal world, students would be exposed to
several different teachers, as well as tutors and their parents, allowing for a broader perspective of the topic.

The French high school system is similar to that in South Africa with regards to the total instruction time of
about 27 hours per week, however, curricular content is offered in three separate streams from which students
choose one: (1) Literature, (2) Economics and Social, and (3) Scientific (Choquet, 2018). The Literature
stream consists of the following subjects: French (4 hours), History-Geography (4 hours), two Modern
Languages (4.5 hours), Sport (2 hours), Moral and Civic Education (30 mins), Science (90 mins), Literature
(2 hours), Foreign Literature in a Foreign Language (2 hours), a choice between a third Modern Language,
further tuition on the first or second Modern Language, or Languages and Culture of Antiquity (3 hours), or
Art (5 hours per week), or Circus Arts (8 hours) - Art includes a choice between Creative Arts, Cinema-
Audiovisual Studies, Dance, History of Art, or Music (Choquet, 2018). Students may also choose two optional
classes (no matter which stream they have chosen) for 2-3 hours per week: Computing and Digital Creation,
Art, Theatre, a third Modern Language, or Sport (Choquet, 2018). Extracurricular activities (sport, art, music,
theatre etc.) take place after school or on Saturday afternoons; some schools don’t have classes on Wednesdays
and block out this day for extracurriculars (Choquet, 2018).

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The French system only allocates one extra hour to music than the grade 10-12 curriculum in South Africa,
but notice that except for circus arts, it is the subject with the most time allocated to it (especially if the student
opts for an extra 2-3 hours of music). Also note that these time allocations are in place for the entire high
school period, whereas, in South Africa music only receives extra time in the last 3 years of schooling. Another
point to note is that when dividing learning content into three separate streams, each subject is provided with
an adequate amount of teaching time and students are given the opportunity to focus on areas in which they
are interested.

Hellberg (2014:1-2) points out that the CAPS curriculum, provides limited exposure to various styles of music,
only allowing a choice between Western art music (WAM), Jazz, and Indigenous African music (IAM). After
analyzing the CAPS music document, Hellberg (2014, 232-236) identified the following weaknesses or
problems (I only include points relevant to this essay):

(1) In Grade 12 term 1, CAPS provides a choice between four-part harmony and an ‘African approach’.
In term 2, there is a choice between advanced four-part harmony and jazz. There is an inconsistency
here: if learners don’t choose four-part harmony in term 1 but do choose it in term 2, they are likely to
struggle with the content. The same issue persists in term 3.
(2) Music technology is absent from the annual teaching plan for all grades.
(3) Aural training is not specified for any of the grades but is an examinable component.
(4) The minimum Grade 12 standard does not meet the entry requirements of universities or other tertiary
institutions.
(5) Indian, Coloured and Asian music is barely mentioned.
(6) In Grade 10, there is a brief introduction to different styles of music, but thereafter students need to
choose between WAM, Jazz and IAM, greatly limiting musical knowledge.

In an analysis of the music curricula in six different countries, (a mixture of First, Second and Third World)
Hellberg (2014:238-239) found that the CAPS music curriculum framework and content, in terms of WAM,
is mostly on par with that of the First World countries analysed (Australia and England), except for the poor
composition component. Hellberg (2014:242) states that rather than aligning with the minimum music
requirements in other countries, South Africa should strive to be better. She also states that many educators
and lecturers consider the practical standard in the country to be too low to meet the entry requirements at
most local and international universities. Hellberg (2014:242) suggests that aural training is often neglected
due to the limited amount of time allocated to practical lessons. She urges that it be made a formal requirement
in the CAPS annual year plan and that the standard be aligned with that of external examination boards.
Hellberg (2014:243) points out that IAM in its current form is not beneficial, nor is it contributing to a proper
curriculum standard.

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Most music theory courses teach students Western music notation as well as the basic musical concepts that
help them to understand, describe, and analyse Western tonal music, rather than expanding the curriculum in
response to changing student demographics (Kang, 2006:47). For students who aren’t necessarily interested
in the Western canon, these courses can seem peripheral to their actual interests (Kang, 2006:47). Many
universities have significantly reduced the amount of time for the study of music theory in order to allow more
space for subjects such as ethnomusicology or gender studies, that weren’t previously recognized as having
the same importance (Kang, 2006:47-49).

Due to the above points, music theory is becoming an endangered field of study. However, despite the
inflexibility of most music curricula, the study of Western art music is still valuable. Kang (2006:61) states
that “understanding a musical repertory requires immersion in the details of a musical language and musical
practice”. We should not discredit Western art music, as it serves the purpose of teaching students what it
means to engage in meaningful musical analysis (Kang, 2006:61). In the spirit of keeping the music theory
course, we should remember that it aids students in developing critical thinking skills that would not
necessarily be encountered in the ethnomusicology class (Kang, 2006:61). The detailed listening and
analytical skills taught through the study of Western art music are valuable when studying any other musical
culture (Kang, 2006:62).

Kang (2006:59) points out that to most students who are entering a music course at university level, Western
art music is a musical culture just as foreign to them as any music labelled as an “Other.” These students are
likely to have encountered Western art music, but they have never been expected to intellectually consider its
underlying structure and influences (Kang, 2006:59-60). So why does our curriculum focus so heavily on
Western art music?

Another issue with the curriculum exists in that contemporary composers are expected to create, explore and
experiment in response to current ideas and developments in science, as well as trends in intercultural
communication (Nketia, 1982:81). This is difficult for students who are only taught in the traditional manner,
with a dated curriculum.

Teaching Strategies/Models and Weak Points in the CAPS Curriculum

Progressivism is the educational philosophy on which the outcomes-based education applied in CAPS is based
(Hellberg, 2014:18). Progressivism is child-centered and emphasises the importance of student interests in
determining what is taught and how it is taught (Hellberg, 2014:18-19). The resulting curriculum is vague so
that learners are provided with a space in which they can answer or find their own solutions to contextual
questions, rather than memorising abstract concepts and information (Hellberg, 2014:19). Student progress is
often monitored informally and accompanied by continuous feedback (Hellberg, 2014:19). I believe that the
CAPS curriculum would benefit from the addition of Postmodernism to its educational philosophy.

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Postmodernism strives for a learning environment which involves the community and in which assessment
often involves collaboration between the educator and the student (mentorship) (Hellberg, 2014:18). My claim
is supported by Perkins, who believes that formal assessment should not be the fundamental method by which
the learner’s knowledge or understanding is gauged, and rather that evaluation should take the form of a
flexible and continuous process (Malan, 2015:40).

Figure 5: Informal or Daily Assessment

Source: CAPS Music Grades 10-12

Figure 6: Assessment in Music

Source: CAPS Music Grades 10-12

As seen in figures 5 and 6, CAPS does follow the process of continuous assessment, however, educators do
not record these observations, rather establishing a student’s progress through a formal examination.
Observing a student’s ability to memorise content should not comprise most of their final mark. Several factors
can influence a student’s performance in an examination; thus, it makes far more sense to observe them over
time in a neutral learning environment.

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The following can be deduced from the teaching strategies/models devised by Elliot, Perkins, and Wiggins,
specialists in the music education field (Malan, 2015:34-48):

(1) Musicianship is practical in essence and largely non-verbal.

(2) The four kinds of musical knowledge that form musicianship should always be used in conjunction
with one another when teaching concepts: formal (textbook-type information), informal (experience
in the field – aided by formal knowledge but more so by an individual’s own reflection),
impressionistic (subjective decision making), and supervisory (monitoring and reflection of the other
musical knowledges by the individual as well as the mentor).
(3) Students should be taught to apply knowledge and skills in a flexible manner later in life (teaching for
understanding), whether for a professional career or in day-to-day contexts.
(4) Content should be kept relevant to the learners and the current developments in the field.
(5) Educators should strive to achieve forms of apprenticeship or mentorship in their teaching, resulting
in an independent student who understands with the ability to reapply learned concepts to different
contexts.
(6) When teaching, educators should start with a larger picture in mind, broken into smaller parts that
contribute meaningfully to the whole, resulting in an understanding of how the smaller parts relate to
the whole.
(7) The educator should not be the only source of knowledge, and students should be given the opportunity
to initiate and execute original ideas.
(8) The educator has to be someone who understands how students learn music in order to teach it, when
educators come to the realisation that musical understanding is, in fact, something that can be taught,
many more doors will be open to their students as a result.

“If students are in a music program that includes opportunities for performance only, with no
opportunities for listening or creating, it is comparable to being in a language arts program in which
students have opportunities to read but not to speak or write.” – Wiggins, 2001 in Malan, 2015:58.

I point out these teaching strategies because my own schooling largely comprised of formal musical
knowledge, and I assume that most schools in South Africa function this way. In primary school, I was taught
clarinet by a brass specialist and a violin specialist, and the music theory lessons were lacking in pedagogical
thought. The first time I was introduced to any sort of proper aural training was in matric, only because I
needed to prepare for a Trinity exam. This resulted in me being extremely underprepared for university aural
courses. Some students don’t receive any musical training until they reach grade 10, or even university, so in
hindsight I was one of the lucky students.

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Kang (2006:46) states that many music theory students (at university level) often treat the course as one of the
difficult modules and therefore tend to treat the work as a duty needing to be fulfilled. Music theory educators
often approach the teaching of the subject with a similar burdensome attitude, passing on a limited view of
music theory to their students, because they fail to communicate the intuition and conceptional reasoning
beneath the technical rules (Kang, 2006:46).

Through her analysis of the CAPS curriculum, Malan concluded that the level of musical understanding in the
students greatly depends on the individual educator and the way in which they implement the curriculum
(Malan, 2015:111). Lerumo (2018:25) mentions a study by Russel-Bowie in which it was found that most
educators in post-colonial countries are not music specialists and lack the competency for music education.
The responses from interviews that Lerumo conducted with Foundation Phase teachers show that because the
teachers aren’t musically competent, they are unable to fulfill the requirements of CAPS. These teachers fail
to make lesson plans for music classes, are unsure how to integrate music with other subjects, lack resources
and adequate teaching time, and do not receive any assistance from specialists at the Department of Education
(Lerumo, 2018:37-41). One of the responses revealed that the educators receive assistance from specialists in
other fields, but the Department never checks whether music is being taught correctly (Lerumo, 2018:41). It
seems beneficial to leave room for individual pedagogical approaches, but there should be a system in place
to ensure that educators are doing their jobs adequately, if not exceptionally.

Alongside the teaching strategies/models mentioned earlier, it would be beneficial to use a model developed
by Leung (2004:2-16) (the Multi-faceted Music Curriculum model). The model consists of four dimensions
for guided thinking when designing a new curriculum:

(1) The importance of popular, traditional (folk and classical), and contemporary music.

(2) The inclusion of music at a local, national, and global level: Local music reflects the current cultural
context, national music represents cultural identity, and the study of world music allows for the understanding
of the various cultures around the world.

(3) Linking academic elements with appreciation, composition, and performance activities: At the school level
it is essential to incorporate extracurricular activities alongside classroom activities in order to provide a
balanced education in music.

(4) The integration of other cultural subjects (such as history, literature, theories of art, philosophy, language,
poetry, art, painting, dance, and drama) to enhance the interest in learning music.

Consideration of all these elements allows for a pragmatic balance that is fitting to the needs of the local or
national situation (Leung, 2004:3). Harbison (1999 in Leung, 2004:7) states that composition has the
responsibility of rebuilding and reconnecting the culture from its past to its current state; this is important for

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the development of the culture. Therefore, it is essential to teach the music of the past as well as the evolving
music of the present/future (Leung, 2004:7). We should strive to make contemporary music readily available
to everyone, rather than just the elite circles of composers, their friends, and others who are particularly well-
informed on the subject (Leung, 2004:7).

In order to develop music education, all levels of education need to engage in a shared effort to ensure that a
strong foundation is established before delving deeper into concepts (Leung, 2004:16).

Teaching Strategies for Contemporary Music

Henry Cowell thinks of music as “a single world-wide art because its basic elements are basic everywhere.
They have simply been given different degrees of development and different combinations and relationships
for identical musical elements in different parts of the world.” (Nketia, 1982:88).

Nketia (1982), a former student of Cowell, lays out three perspectives for creating contemporary idioms out
of traditional music. These are intended to be compositional techniques, but they could also be applied to the
reshaping of the curriculum to contain contemporary music theory.

The first perspective is called ‘Reversal Techniques’ and consists of three parts. Firstly, the reversal of tonal
procedures and using this reversed logic to explain the combinations of sounds and rhythms at points of tension
and relaxation (Nketia, 1982:84). Secondly, employing techniques to make the regular irregular, and thirdly,
avoiding any methods that unconsciously lead back to traditional tonality (Nketia, 1982:84). Henry Cowell’s
pedagogic approach involved breaking away from the logic of traditional tonality (Nketia, 1982:84). For
example, he taught his students to write dissonant counterpoint rather than the traditional sort (Nketia,
1982:84). Through this approach, his students were able to develop a positive attitude towards atonality,
whether they preferred it to traditional tonality or not (Nketia, 1982:84). Cowell taught the importance of
meaningful relationships and functions over the logic of tonal harmony, producing students who were able to
be more daring in their exploration of, and experimentation with, sounds (Nketia, 1982:85).

Nketia (1982:85) explains that while all the new possibilities are fascinating, contemporary musicians in
Africa often face deprivation of traditional music due to colonial education rather than satiation with tonality.
In South Africa, this point would have to be considered carefully when reshaping the curriculum.
Contemporary music theory seems like the logical or necessary step for those musicians who wish to further
their career abroad, but those who wish to be true to their own heritage and speak to native audiences should
also be considered. A common thread in Western music is the radical breaking away from traditions of the
past (Nketia, 1982:81). In Third World countries, tradition is respected rather than discarded (Nketia,1982:83).
It isn’t seen as a challenge to originality, but as a stabilising factor (Nketia, 1982:83). Tradition allows for a
mutual understanding when communicating shared values or identity (Nketia, 1982:83).

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The second perspective is called ‘The Syncretic Approach’ and involves exploring traditional or oral-based
music as a source for sounds and procedures that expand the musician’s creative scope (Nketia, 1982:87).
Nketia (1982:87) emphasises that a mature composer will not use the opportunity as a chance to find exotic
flavours, but rather as a musical experience in which to learn new concepts and to stretch the imagination.

The third perspective is called ‘Techniques of Re-interpretation’ and involves the use of abandoned forms and
techniques from a previous era in new ways (without using reversal techniques), giving an older tradition
contemporary relevance (Nketia, 1982:92). For example, new melodic and harmonic systems developed from
the medieval church modes (Nketia, 1982:93).

Cherlin (1986:68) states that post-tonal ventures in music can and do represent modifications of earlier tonal
principles, and that the theory taught or speculated about in an era reflects the musical concerns of that era
(Cherlin, 1986:62). Cherlin’s thoughts emphasise the importance of teaching both the old and the new:

Artists and thinkers create ‘new’ present contexts by recreating those of the past (Cherlin, 1986:60). Creating
and recreation intersect with the critical interpretation of musical works (Cherlin, 1986:60). Consideration of
historical trends and deviations from these is an implicit part of musical analysis (Cherlin, 1986:61). The
analyst’s observations regarding characteristics such as harmony and voice leading, rhythm, phrase structure,
and form, should all be understood within the context of the work (Cherlin, 1986:61).

The Contemporary Music Project, an American in-service music teacher education program (Livingston,
2014), suggests a non-fragmented approach to teaching where all types and eras of music are taught with
common elements in mind, and with experience and performance at the core (Roach, 1973:38).

Irving (2006:121) views music theory and music history as two sides of the same coin: their claims and
functions may be different, but together they provide one historical and cultural context. If taught together,
students will understand music theory within its chronological context. Likewise, musicologists would be able
to support their claims with analytical theory rather than historical generalisations (Irving, 2006:122). Often,
music history content isn’t related to the music theory content being taught at the same time (this is even worse
at university level). Merging the subjects would allow for the information puzzle to be put together much
quicker. If some aural training is also included in the strategy, then the problem of teaching music theory in
isolation would be solved.

The neutrality of the non-fragmented approach could also help to remove the idea of elitism from music,
allowing all musics to be taught with the same amount of energy and dedication. Perhaps this is difficult
because there is an imbalance of content, I think, as Western music has undergone so much development,
whereas traditional music rarely changes because tradition is sacred (and if it changes then it isn’t tradition).
Among other values, the CAPS curriculum is partly driven by the valuing of “indigenous knowledge systems

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by acknowledging the rich cultural heritage of South Africa” (Lerumo, 2018:13) – the right ideas are there,
but the curriculum still needs additional thought.

Possible Problems when Reshaping the Curriculum

Bonnie Wade, an American Ethnomusicologist, proposed a theoretical framework similar to that of the
Contemporary Music Project, which approaches all musics from a neutral perspective, using culturally neutral
terms such as pitch, time, and instruments (Kang, 2006:49). The problem with this framework is that practicing
very general music theory and using universal terms often ends up being vague or unsatisfying because it lacks
the in-depth analysis of a musical culture (Kang, 2006:51). Kang (2006:51) states that Wade’s approach could
be useful if used as an introductory study of musical sounds and fundamentals: making it ideal for grade 10-
12 learners who plan to delve deeper into musical studies at a university level. However, Kang (2006:51)
warns that a utopian theory based on universality is problematic, inviting superficial comparisons between
musics made by students who only have surface-level understanding. The inclusive approach may be well-
intended but, in reality, it allows Western music theory to assume a universal or omnipotent status, squeezing
all other musics into the theoretical box of Western art music (Kang, 2006:54).

Another issue, pinpointed by Roach (1973:39), is that music educators need to realise that many students react
negatively to more complex subject matter, resulting in decreased aesthetic sensitivity and desire for further
exploration. He emphasises that musical growth cannot be forced or rushed, and should rather be carefully
nurtured (Roach, 1973:39). Educators should be able to accept the fact that their students will have varying
tastes in music, resulting from both formal learning as well as learning outside of the school environment
(Roach, 1973:39). These varying tastes are exactly why it is so important for educators to provide a variety of
musical experiences (i.e. several types of music), allowing all students the opportunity to derive a sense of
musical value (Roach, 1973:40). Roach (1973:38) notes that different musical experiences result in different
aesthetic responses. He explains by saying that some music only arouses sensual reactions, while other music
arouses emotional-intellectual responses, and some music can be understood through surface-level interaction,
whereas other music requires formal analysis before its value can be understood (Roach, 1973:38). Roach
(1973:38) states that adolescents often feel the need to associate their musical tastes with those of their friends
or family. This results in them being suspicious of anything unfamiliar to them and they often end up resenting
any content that is old-fashioned or irrelevant (Roach, 1973:38). With all of this in mind, music educators
should view the development of aesthetic sensitivity to music as their primary objective when teaching their
students (Roach, 1973:38). This should of course be done without forgetting the importance of the building
blocks of all music: pitch, duration, timbre, dynamics and form (Roach, 1973:40). Roach (1973:40) advises
that educators be cautious not to fall into the traps of extremism or mediocrity when updating the music
curriculum. He emphasizes that educators must have goals in mind for the teaching to be safe from
formlessness (Roach, 1973:40).
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A Rough Curriculum Plan

Below I have provided two informal lists (that are likely incomplete) - firstly genres of South African music
and secondly genres of African music (both traditional and popular) - to demonstrate the enormous task of
trying to incorporate all of these musics into a music curriculum. This is probably why CAPS has limited the
style choices available to students.

South African Music Categories:

Boeremusiek, Ethnic Swazi music, Goema , Gqom, Indlamu, Isicathamiya, Jaiva/Township jive, Kwaito,
Kwela/Pennywhistle jive, Mirabi, Maskanda, Mbaqanga, Mbube, South African heavy metal, Bantu township
music, Tswana music, Uhadi musical bow, Xhosa traditional (different clans have separate drumming styles
and dialects), Zulu traditional, Motswako, Gospel, Jazz, Bubblegum, Sotho traditional, Tsonga traditional,
Pedi traditional, Venda traditional, Afro-Pop, House.

African Music Genres:

Afrobeat, Apala, Assiko, Bikutsi, Benga music, Bongo Flava, Cabo-love, Chimurenga music, Coladeira,
Coupé-Decalé, Desert Blues, Fuji, Funana, Gbema, Highlife, Hipco, Hiplife, Kizomba, Kwassa Kwassa,
Makosa, Mbalax, Morna, Ndombolo, Paml-Wine Music, Semba, Soukous, Taarab, Tcha tcho, Trapco

In conclusion, since I lack concrete knowledge regarding all of these musics (precisely what I have been trying
to prove through this essay: most South African musicians are lacking in cultural knowledge and identity due
to the state of the music curriculum), I have limited my reworking of the curriculum to include contemporary
music theory to the current CAPS year plan for Western art music.

Grade 10s are taught very basic music theory, including: simple musical terms such as crescendo or
diminuendo, time signatures/simple and compound time, beats, bar lines, note values, staves, ledger lines, note
names, clefs, sharps and flats, whole tones and semitones, major and minor scales and technical names of
scale degrees, key signatures, intervals, rhythmic motives and sequences, rhythmic groupings, rests.

Perhaps the Department of Basic Education assumes that students aren’t taught any of these basic elements
before reaching grade 10, but this assumption doesn’t make any sense since students are expected to be taught
creative skills (which includes music) from grade R. These concepts from the year plan seem slightly more
appropriate for grade 10 level: melodic sequences, four-bar melodies, transcription, triads, rudimentary
harmony, pedal points, and motives. I find it problematic that CAPS only expects teachers to show students
examples in existing music from the third term.

It seems adequate to revise the content mentioned above, especially to establish common ground if the students
and teacher are not familiar with each other. However, revision of concepts could perhaps take up one term or

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as concepts are revised, new concepts that relate to the old ones can be introduced. For example, when revising
whole tones and semitones (perhaps scale degrees too), the idea of interval classes can be introduced. Other
concepts that could be introduced in grade 10: asymmetric meter, changing time signatures along with
rudimentary conducting skills, church modes, pentatonic scales, synthetic scales/equal division of the octave,
Messiaen modes, and octatonic scales.

Grade 11s are taught the basics of rhythm and pitch again, major and minor scales again, church modes,
chromatic, pentatonic and blues scales, tuplets, more advanced harmony, inversions of triads, aural
identification of cadences, non-chord tones, basic harmonic analysis, transposition, melodic and rhythmic
motives and sequences, imitation, augmentation and diminution of motives, eight-bar melodies with chord
progressions, musical terms, recognising and writing intervals. There is some overlap from grade 10 (probably
to fulfill the need for revision) as well as some development in difficulty of concepts, but everything is still
very basic overall. Jazz chord structures and nomenclature are optional, but these should become a fixed
element in the year plan. Along with this, voicing, chord types and extensions for specific timbres should be
taught, as well as parallel sonorities and common tone progressions. Other concepts that could be introduced
in grade 11: non-metric rhythm, music without bar lines, shifting accents, tonal centres, conventional
modulation as well as mediant relationships and tritone relationships, music as 3-dimesional space, and
textures such a pointillism.

Grade 12s are expected to write longer and more detailed melodies (e.g. adding articulation), use previously
taught techniques in analysis, and full four-part harmony exercises. Since all these concepts have already been
covered, analysis, melody writing, and four-part harmony shouldn’t account for the entire year. Other concepts
that could be introduced in grade 12: bi/polytonality, microtonality, use of mathematics in music,
serialism/tone rows, axis theory, analysis strategies like Schenkarian analysis or Neo-Riemannian analysis,
and composing by chance.

Some of these contemporary concepts may seem too advanced to current high school teachers, but in an ideal
educational system where all levels of schooling plan and work together, rudimentary concepts will be taught
much earlier and by the time students reach grade 10 they will be ready for more challenging content.

Extended performance techniques could be included in the performance section of the curriculum. If not as
examinable content (because some students might not be at that level yet) at least as incentive for students to
explore their instruments and expand their awareness of timbral possibilities.

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References

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