The aim of this study was therefore to design learning activities based on Tswana children's songs as the selected material to realize the objectives of the existing primary school music syllabus for Botswana primary schools lower standards. Among factors negating the smooth delivery of the program is a lack of teaching and learning activities relevant to Botswana's cultural values as recommended by the National Policy on Education of 1994.
Background to the Batswana people
Music of the Batswana
As is characteristic of other African communities, the social milieu of the Batswana is embedded in the philosophies and organizational structures of music making. In singing, everyone becomes part of the song, regardless of their level of competence.
Music instruments
The most competent are those who have more passion than others and therefore have more hands-on experience than the rest of the crew. Nzewi (1997) further noted that the communal solidarity that characterizes African philosophy is evident in the ensemble performance because the ensemble always has a choir and a solo.
Music performance
This is because there are cases where adult songs have been changed to suit children's small tessitura.
Research problem
Aim of the study
Research questions
The study objectives were
Broader issues embraced in the study
Rationale
Significance of study
Limitations of the study
Theoretical frame-work of the study
The relevance of this paradigm to this study is the researcher's choice to use materials (Tswana nursery rhymes) that come from the same social context and have been passed down from generation to generation by well-known models (traditional leaders). The relevance of this paradigm to this study is that the songs the researcher chose were already in the child's repertoire and as such provided a springboard through which new music knowledge could easily be built.
MUSIC TEACHING IN BOTSWANA
Tswana indigenous teaching and its implications on teaching and learning
For example, the story of “the giant and the little girl,” often recited in Botswana, implies how people could abuse power to coerce or even kill. According to Andang‟o (2005), using the local language familiarizes students with the intonation and rhythm inherent in the words and metaphors used.
Formal music education before independence
- Primary education in Botswana
- Music in primary schools
- Botswana music curriculum
- Creative and Performing Arts (CAPA) syllabus (Standard 1-7)
- Teacher education for primary school music programme in Botswana
- Teaching and learning materials for Botswana primary schools
It is within the framework of the national goals and educational objectives that the curriculum is based. Before the introduction of the Creative and Performing Arts in primary schools in 2002, music was taught on an adhoc basis, depending on both teachers and schools.
Indigenous music in education
Studies from selected African countries
The researcher's observation shows that when making music in Botswana, hand clapping takes over the role of the drum. It was at the same conference that the idea of establishing the South African Music Educators' Society (SAMES) was proposed and formed (Pillay, 1994).
Related findings from other continents
This makes the study timely, especially in the Botswana situation where none of the studies have considered children's music from the same point of view. It also puts the researcher's study in the spotlight as it is also fundamentally similar in the inclusion of indigenous music in Botswana's primary schools.
RESEARCH METHODOLOGIES AND METHODS
Population and sampling procedure
Use the songs to articulate learning procedures
The activities were designed progressively, where the same concept was taught at successive levels of intensity depending on the children's standards, e.g. Other activities were designed to address other musical elements that are secondary to the first, such as dynamics and rhythm.
Test the articulated learning procedures in real class situation
Evaluate effectiveness of the designed activities
Data Analysis
PRINCIPLES AND APPROACHES TO MUSIC EDUCATION
Principles of Music Education
Philosophy of music education
The scientific methods influence students' lifelong learning because they are ready to meet the demands of the status quo, not because they have any practical value for students' education. According to Reimer (1989:4), a philosophy refers to 'the collective conscience'. He further notes that individuals who have a clear idea of their objectives as professionals and (who) are convinced of the importance of those objectives are a strong link in their professional achievements.
Child development theorists’ perspectives on music education principles
As the Rhythm Interval Approach states, activities should be planned in the context of the child's world, progressing systematically to the abstract level. Although the two theorists converge in studying personality development in infancy and childhood, they differ in that Freud focused on the unconscious instincts and sexual drives (libido), while Erickson emphasized the development of an ego within the challenges of cultural and social problems. requirements (Allan &. Marotz, 2003). The difference between the two theories is also evident from their names, e.g. The child's curious nature at this stage is an opportunity to shape the child according to social values.
Botswana’s music education principles
Second, society recognizes the determined self-consciousness of children, as seen in its tendency to put children in charge of certain tasks at a young age, e.g. The activities that the researcher designed also catered to children's self-concept by emphasizing teamwork. Do the activities promote socialization, sensitivity, subordination of their interests to the interests of the group (cooperation).
Selected Approaches in Music Education
- The Kodály Approach
- The Orff approach
- The Dalcroze approach
- The Curwen approach
- The Rhythm Interval Approach
- Investigating use of Kodály approach with Batswana children’s songs
- Investigating use of Orff approach with Batswana children’s songs
- Investigating the Dalcroze approach with Batswana children’s songs
- Investigating Curwen Approach with Botswana children’s songs
The musical content and sequence should be derived from the musical background and children's literature. Activities are performed physically and include a variety of movement possibilities in space, place, locomotor, non-locomotor, isolated gestures using hands, arms, head, shoulder or combination of body parts (Bachman, 1993). The group approach prevalent in the Dalcroze approach also characterizes music learning in the Tswana children's music-making situation.
Investigations and justification for selecting RIA
Although the researcher started with the pentatonic scale for logical reasons, he has noticed that children are aware of the diatonic scale beforehand. Michelle (1973), in her analysis of spontaneous melody formation by children in both preschool and elementary schools, showed children's preference for the use of the diatonic scale. From analysis of the RIA approach, the researcher has finally found a niche for the culturally sensitive orientation of the approach.
Application of RIA in Botswana Primary schools
By using songs in the primary school classroom in Botswana, the researcher was able to confirm that this is true. In most of the activities given, students were introduced to songs with specific musical concepts that the researcher wanted to convey. From the researcher's observation, the use of the approach shows that the auditory/oral approach increases students' receptive and attentive skills.
BATSWANA CHILDREN’S SONGS IN THE CLASSROOM
What are children’s songs?
The majority of Tswana children's songs studied have a rhythmic formula that is flexible and always involves some movements. According to Wood (1975), binary and rounded binary are other types of forms found in Tswana nursery rhymes. For example Sila sila mile. ii) Melody. The dances of Tswana children are usually vigorous, with twisting movements of the torso and swaying hips.
Criteria for selecting the songs
According to Simako (2008), Tswana children's songs relate well to demands for Creative and Performing Arts policy. Children's songs become a part of the child from the moment of the cradle until he/she becomes an adult. Furthermore, the RIA varies slightly with the tempo and repertoire level of Tswana children as determined by Tswana children's songs, e.g.
Developed activities using Tswana children’s songs
Another difference is the introduction of musical elements, because the curriculum expects students to be introduced to double, quadruple meter and dance to traditional music, which is usually in 6/8 time, ranging from Standard perform a variety of traditional dances in one's locality ). This implies that primary school children are familiar with the mentioned musical elements in advance, and therefore the curriculum prescribed them for use at an earlier time than expected in RIA and other approaches such as Kodály, Orff and Dalcroze. Nevertheless, the planned activities fell well within the RIA and the researcher made some small adjustments where necessary.
Activity 1
The song uses the pentatonic scale, so the scale can be entered via e.g. Divide the students into four groups and ask each group to go up the stairs singing the scale and come down still singing. The activity can be done in groups or in pairs so that students can understand the concept well.
Ask students to list the type of sounds they have picked up from their surroundings and report back to the class. The teacher may end up asking the students to perform the entire piece depending on their ability. Finally, with the knowledge the students have gained, the teacher can now return to the song.
Dramatisation
Students are asked to create their own songs using the motif from the song Mmamati. Ask them to sing the song again and move to the beat of the song while still moving in a circle. Finally, ask them to perform the song with percussion instruments after they have mastered it.
Topic: Sound
A few students are asked to demonstrate in front of the class as they sing the song using Curwen's hand gestures. Ask them to sing the song and move to the rhythm of the song, while still moving in a circle. Finally, ask students to take a motif from the song and create their own pieces from it.
Introduce the song Didimala mme o ile kwa masimo and ask the students to sing it after you. Ask students to perform the same piece (Gata-gata) with percussion instruments to accompany the melody of the song. Ask students to sing it individually before singing it in the context of the song.
Report of trial of music teaching activities and methods in the classroom i)Trial of activities in Standard 1
Additionally, with the guidance of the researcher, the students were asked to perform the song using body percussion and transferred the skill to the percussion instruments. The activity took place while the students were keeping the rhythm of the song by walking towards it. Students were told that the song was in 4/4 time (quadruple time), which they were asked to reflect by clapping for four beats.
Summary of results from application of songs in the classroom
The activities for teaching rhythm have been designed to develop according to the age and ability of the students. It can be seen from the analysis that the rhythmic activities matched those of the students. developmental level as confirmed by the standard in which they were. Activities for learning intervals were also systematically organized according to the students' abilities as dictated by the class standards.
Ways of using the songs in the classroom
It is important that the teacher must consider the learners' developmental level and carry out the songs' activities in accordance (Bruner, 1977). Call and response, either through the use of voice or instruments, can be employed with the songs. This was done to help learners internalize the melody, beat and rhythm of the songs.
SUMMARY, CONCLUSION AND RECOMMENDATIONS
Summary of the study
To assess the learning materials and activities used in Botswana primary schools
To identify learning activities required to address the music syllabus objectives
To propose learning activities that would turn Tswana children‟s songs into usable teaching and learning materials
To probe for some ways of sequencing learning activities to lead to systematic address of the syllabus objectives
- CONCLUSION
Making Music Education Relevant in South Africa” papers from the second national music education conference. 1988). "A Guideline for Music Education in Southern Africa" Conference Proceedings of the 2nd National Educators Conference. A collection of African and Indian children's songs with activities for intercultural music education in South Africa.
