THE SELECTION PROCESS, PERSPECTIVES ON INSTRUMENTS, INHERITED IMBALANCES AND METHODOLOGY

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Introduction

This thesis concerns itself not with standards of teaching but of performing. It focuses on the realities of what is required in practical professional performance rather than on pedagogic models. This distinction is intentionally drawn for the perceived reason that a purely didactic approach does not always easily translate into a methodology appropriate for practical implementation. Considering the divergent and sometimes conflicting social backgrounds and individual competencies encountered in a sizeable and somewhat specialised category of instrumentalists, namely the members of South Africa’s professional service bands, the empirical approach emerges as the more suitable one.

Background to the study

Professional service bands, that is, military and concert bands operating as a division of any of the arms of service of the National Defence Force or Police services, have a history of just on a century in South Africa: the first South African Police Band was formed on the Witwatersrand in 1904 (Coetzer 1999) and the first fulltime, official Army band over three decades later.

Principal aims of the study in brief

The intent of this study is to place on record the processes utilised by the compilers, in collaboration with the present writer in his capacity as coordinator and chief compiler, in revising the new service band syllabus identified as Syllabus 2000. It aims to reveal to all interested parties the empirical and action research carried out by members of the selection panels, both individually and collectively, in assembling material relevant to this task, and grading it in terms of musical and technical difficulty. It is likewise the express intent of the writer to make this information available so that it may serve as a practical guide to any other party attempting a similar exercise. The writer expresses the sincere hope that this thesis will facilitate the path of future syllabus compilers.

Secondary aims of the study

The following secondary aims were realised by the writer in the process of compiling the new syllabus, and are indicative of the new paradigm that obtains among the more progressive-minded members of South Africa’s service bands.

ABSTRACT
ACKNOWLEDGEMENTS
CHAPTER ONE: BACKGROUND AND AIMS
1.1 Introduction
1.2 Background to the study
1.3 The Shifting Paradigm of the Service Band
1.4 Preamble to the Research Questions
1.5 The Primary Research Question and Sub-Questions
1.6 Principal aims of the study in brief
1.7 Secondary aims of the study
1.7.1 To indicate how the lesser-known winds can be more widely utilised in the Concert Band
1.7.2 To validate the encouragement of band members to explore viable « doubling » instruments
1.7.3 To encourage IDMAC to award recognised certificates of competency as an adjunct to the evaluation process
1.7.4 To establish a « complete » instrumental syllabus
1.7.5 To disseminate information that will afford candidates increased confidence in performing on
a second instrument
1.8 Methodology
1.9 Division of chapters
1.10 Addressing the current realities of service band functions
1.11 The writer’s background and qualifications
1.12 Limitations of the Study
1.12 Contributions of the Study
CHAPTER TWO: LITERATURE REVIEW
2.1 A brief overview of relevant material accessed
2.2 The development of the Wind Ensemble
2.3 Specialist literature on wind instruments
2.4 Articles from specialist publications
2.5 Syllabuses of examining bodies in the United Kingdom and South Africa
2.6 The music libraries of the SAMHS and the SAPS Bands
2.7 References to wind and percussion syllabuses in other MEUSSA-related and wind band oriented theses
2.8 Articles with specific reference to syllabus or curriculum design
2.9 Music publishers’ catalogues consulted during the process of repertoire selection
2.10 Other sources accessed
2.11 Summary of literature reviewed
CHAPTER THREE: THE SELECTION PROCESS, PERSPECTIVES ON INSTRUMENTS, INHERITED IMBALANCES AND METHODOLOGY
3.1 Considerations concerning repertoire choice and instrument selection
3.2 Problems requiring special consideration in the courseof compiling Syllabus 2000
3.2.1 Sociological imbalances
3.2.2 The varied nature and efficacy of in-service training
3.2.3 The scarcity of non-Western music obtainable in print, and of original repertoire for certain wind instruments
3.2.4 Necessary omissions: extreme register woodwinds
3.3 Alternative evaluation structures in the evaluation process
3.3.1 Trinity College, London
3.3.2 The University of South Africa Department of Music
3.3.3 The University of Pretoria Department of Music
3.3.4 The Tshwane University of Technology School of Music
3.3.5 The Associated Board of the Royal Schools of Music
3.4 Training the previously disadvantaged
3.5 The course of action followed in compiling Syllabus 2000
3.6 The repertoire selection panels
3.7 Express actions taken by the selection panels following the IDMAC resolution on November 1998
3.8 Later revision of band extracts
3.9 Summary of Chapter
CHAPTER FOUR: EVALUATION PROCEDURES IN IDMAC-REGULATED SERVICE BANDS
4.1 Inconsistencies in previous evaluation systems
4.2 Factors initiating change
4.3 Established categories or levels of musical performance in South African service bands
4.3.1 First category: Learner Musician
4.3.2 Second category: Musician
4.3.3 Third category: Senior Musician
4.3.4 Fourth category: Principal Musician
4.3.5 Fifth category: Chief Musician
4.3.6 The category of Group Leader
4.3.7 Officer categories
4.3.8 The Entertainment Units
4.4 Issues intrinsic to Southern Africa
4.5 Composition of the IDMAC evaluation boards
4.6 Allocation of marks in the practical examinations
4.6.1 Mark distribution in the IDMAC evaluations
4.6.2 The cultivation of a common perspective among examiners
4.7 Opportunities for the re-examination of candidates
4.8 The comparison of IDMAC competency levels with those of other relevant examining bodies
4.9 Current equivalency levels between IDMAC and other examining bodies
4.10 Sociological factors that impact negatively on the IDMAC evaluation process
4.11 Reserve Force opportunities
4.12 Summary of Chapter
CHAPTER FIVE: AESTHETIC AND PHYSICAL CHARACTERISTICS OF THE INSTRUMENTS OF THE CONCERT BAND REVIEWED
5.1 Rationale of the repertoire choices made in Syllabus 2000: the compiler’s perspective
5.2 The instruments of the Concert Band and their repertoire individually considered
5.2.1 The Flutes
5.2.2 The Oboes
5.2.3 The Clarinets
5.2.4 The Bassoons
5.2.5 The Saxophones
5.2.6 Contrasting tone-qualities within the same range
5.2.7 The soprano and mezzo-soprano brass: Trumpet/Cornet/ Flügelhorn
5.2.8 The French Horn and Alto horns
5.2.9 The Trombones
5.2.10 The Saxhorns
5.2.11 The Tubas
5.2.12 Percussion Instruments
5.2.13 String instruments in the Concert Band
5.3 Viable 21st Century additions to the instrumentation of the concert and marching band
5.4 Further observations
5.5 Summary of Chapter
CHAPTER SIX: PRACTICAL INSTRUMENTAL COMPETENCY LEVELS IN SOUTH AFRICAN SERVICE BANDS
6.1 An internal approach by IDMAC to unit standards in practical instrumental performance
6.2 The University of Pretoria’s MEUSSA team
6.3 A pragmatic approach to establishing unit
standards for instrumental performance
6.4 IDMAC performance levels: specific competencies required
6.4.1 Woodwind instruments
6.4.2 Brass instruments
6.4.3 Percussion instruments
6.5 Relevant learning outcomes and criteria in the United Kingdom comparable to the aims of IDMAC
6.6 Possible joint examination with South African tertiary music institutes
6.7 Further refinements of evaluation methods
6.8 Summary of Chapter
CHAPTER SEVEN: CONCLUSIONS AND RECOMMENDATIONS
7.1 Introduction
7.2 Response to the first sub-question
7.3 Response to the second sub-question
7.4 Response to the third sub-question
7.5 Response to the fourth sub-question
7.6 Response to the main research question
7.7 Value of the study to bands within and outside South Africa
7.8 Recommendations arising from this study
7.8.1 Explicit recommendations regarding marching band instrumentation
7.8.2 The standardisation of note value terminology
7.8.3 Future equivalency between examining bodies
7.9 Suggestions for further research
7.10 Conclusions and final observations