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This policy document is compiled in with the aim to provide music teachers at Woodridge College a
comprehensive guide to their academic, administrative and professional duties and to set a context for
music tuition at this school. The information contained in this document is subject to review annually or
on an on-going basis as it becomes necessary.

Woodridge College Music Department Policy Document 2013

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1. The Vision and Goals of the Music Department

The most important characteristic of an effective music department is that its effectiveness
should be apparent (Gary Spruce).
Fostering an appreciation for music in education and in the daily lives of pupils.
Co-ordinating and organizing musical activities involving as many children as possible with
the aim of enrich both the life of the school and the musical education of those involved in
the activities.
Creating a vibrant, relevant and effective extracurricular musical life that celebrate and
extend the achievements of the classroom as well as features the choirs, bands, and music
groups that developed outside of the formal curriculum.
To dispel the notion that music is an elitist subject area reserved for a select group of
pupils.
Address the needs and aspirations of all children.
Encouraging teachers who have a vision for the unique role that music can play in the
education of the children in their care.
Creating and fostering an appreciation for music in the wider society in which the
Woodridge Music Department functions.
Ensuring the childrens progress and involvement in music is the ultimate goal of the
creative pursuits in the department.
Providing learning opportunities for children with different abilities, backgrounds,
progression and creating learning and performance opportunities that are appropriate for
their needs.
Ensuring that the teaching of music is effective.
2. General Information
2.1 Classroom management
The particularly challenging demands placed on music teachers due to the unique nature of the
subject, must continuously be considered by each teacher. Regardless of the restrictions and
demands of current syllabi being followed, extra-mural music activities, or whatever support there
may or may not be, the interchange of teacher and pupil in a classroom that determines the
success or failure of teaching.
Points to ponder
a) In group situations, the individual pupil cannot be helped if the teacher cannot successfully
manage the group as a whole.
b) Controlling is part of the teachers task
c) Good classroom management emerges from a well-planned lesson.
d) The best planning will be useless if pupils are insufficiently motivated. In most cases, the
attitude towards music displayed by pupils is based on the extent upon which the pupil
feels that the subject offers him/her something that is worthwhile.
e) Good teacher-pupil relationships are crucial for effective learning and teaching.
f) The successful teacher aims to achieve the following:
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a. The successful teacher cares and knows that some of his/her hopes might never
be attained, but he/she is not daunted. Pupils sense that such a teacher cares and
will never give up.
b. The successful teacher teaches well.
c. The successful teacher manages well.
These points are interrelated and impact upon each other. Effective classroom management
arises from the teachers viewpoint about the purpose and nature of music and music
education and whether this is effectively communication to the pupils via good teaching and a
suitable curriculum.
2.2 Missed Music Lessons

Music teachers are accountable for the number of music lessons taught throughout a year and
needs to monitor the lesson attendance of all individual music pupils carefully. Teachers are held
responsible for not following the disciplinary action stipulated below, since missed music lessons
have financial implications for both the school and parents alike.
The following action must be taken when music pupils miss lessons:
Number of Lessons
Missed
Disciplinary Action Taken
1
Warning by Teacher
Note the absence on the pupils attendance card
2
DT 1
Note the absence on the pupils attendance card
3
DT 2
4
DT 3

Teachers are responsible for:
filling in the appropriate detention slip for DT 1 and DT 2,
informing the child of the detention,
acquiring the signature of the pupil on the detention slip,
distributing the detention slip to grade head of the appropriate grade,
emailing and/or phoning the parents (when necessary), and
informing the Director of Music from a DT 2 level and upwards about the developing
problem.
2.3 Communication and record-keeping

Good record-keeping in the form of transparent mark books (when required) and attendance
cards, is essential both to the success of an individual teachers work and to the relationship with
other teachers and parents. Keeping a comprehensive record of the achievements and
progress of an individual pupil, is the best source of information for further analysis of a
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pupils growth in skills and understanding of the work taught throughout the teachers
contact time with that pupil.
In the music department, it is often necessary to communicate with parents. Communication
should ideally happen at the following times:
At the start of the year to introduce the teacher to parents.
When pupils achieve well.
When disciplinary issues arises.
When queries are lodged by parents or other role-players.
For reporting purposes.
The Director of Music should be informed of any non-routine query via email.
3. SECTION A: Music in the FET and GET phases

3.1 The Purpose of Assessment in Music

Assessment in music is done with the following goals in mind:
To gain information on the development, progress and achievement of pupils. This sort
of information is required for parents who will want to know:
o Where his/her child is in relation to the attainment of his peers and what might be
expected for his age group;
o How much effort the child has been putting into his/her work;
o How much progress the child has made since the last feedback;
o What the child needs to do in order to make progress.
Evaluate the teaching and learning which has taken place, in order to see how effective
a project has been and whether it should be adjusted in the future;
Increase motivation and individual responsibility for learning.

3.2 Programme of Music Assessment 2013

3.2.1 Grade 12

(Guideline Document: Music SAG Document: National Senior Certificate handbook: Implementation date: Grade 12,
2010)
Assessment of Music for Grade 12 consists of two components:
1. A written portfolio of assessment which makes up 25% (100 marks) of the total mark
externally set and moderated, internally marked.
2. Also part of the portfolio are practical school-based assessment tasks (50 marks)
internally set and assessed.
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3. External assessment which makes up 75% (300 marks) of the total mark externally set,
marked and moderated.
a. Paper 1: A written examination (150 marks)
b. Paper 2: A performance examination (100 marks)
An Overview of the Programme of Assessment: Grade 12
Assessment Tasks (25%) External Assessment (75%)
100 Marks 300 marks
Portfolio
1. 2 tests
2. 1 exam (trial)
Written paper
Performance exam
3. 3 integrated performance tasks
which include theory and
practical
Written
examination
Performance
examination
Practical
Assessment Tasks
(PAT)
Term 1 Assessments:
Practical Test (100)
Written Test (150)
Process work of portfolio tasks:
o Research Task (30)
o Composition Task (30)
o Improvisation (15)
o Melody writing (10)
o Harmonisation (20)
o Programme Notes Task (10)
o Solo Performance (20)
o Group Performance (15)
Term 2 Assessments:
Practical Examination (100)
Written Examination(150)
Term 1 Test (Carried over) (10)
Term 2 Test (10)
Test 3: Contractual issues task (10)
Process work of portfolio tasks:
o Research Task (30)
o Composition Task (30)
o Improvisation (15)
o Melody writing (10)
o Harmonisation (20)
o Programme Notes Task (10)
o Solo Performance (20)
o Group Performance (15)
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Term 3 Assessments:

Teachers
responsible
Assessment Tasks
Total
Marks
Date of
completion
Examinations
Individual
teachers


(CR)
Examination 1 (Final Practical) externally
examined
(Taught by individual practical teachers
Sight reading (10)
Aural development (10) [CR]
Scales and technical exercises (10)
Three solo pieces (70)
100 September
2013
(CR & LH) Examination 2 (Final Written) externally examined
Written examination
Analyse notated and /or recorded music visually
and aurally (60)
Transcribe music from one notation system to
another (10)
Critically evaluate representative examples of
music & compare different styles of music (80)
150 September
2013
TOTALS 250


Written Portfolio of Assessment
Common Assessment Task

(CR)
Portfolio Task 1: (LH)
Topic of teachers choice: Concert organization and
planning

10 March 2013

(LDP)
Portfolio Task 2: (LDP)
Compose a musical work using available technology to
compose, arrange and present the composition.
30 October
2013

(CR)
Portfolio Task 3: (LH)
Harmony (20)
Melody writing (10)
30 October
2013

(LH)
Portfolio Task 4: (CR)
Research assignment in which the pupil will critically
evaluate representative examples of music and
compare different styles of music.
30 July 2013
Continuous Assessments

(CR)
Two tests
Term 1 Test or Test 3 (contractual issues) (10)
Term 2 Test (10)
20 July 2013

(CR)
Mid-year examination
Written paper
Practical performance exam
30 July 2013
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SUB-TOTAL 150

CONVERTED TOTAL 100


Practical assessments
(CR) Task 1:
Improvisation
15
September
2013

(Individual
teachers)
Task 2:
Performance of 2 solo pieces publically
20
October
2013

(CR)
Task 3:
Performance of one piece in group context
15
October
2013
TOTAL 50


3.2.2 Grade 11

(Guideline Document: Music SAG Document: National Senior Certificate handbook: Implementation date: Grade 12,
2014)
Assessment of Music for Grade 12 consists of two components:
4. A written portfolio of assessment which makes up 25% (100 marks) of the total mark
externally set and moderated, internally marked.
5. Also part of the portfolio are practical school-based assessment tasks (50 marks)
internally set and assessed.
6. External assessment which makes up 75% (300 marks) of the total mark externally set,
marked and moderated.
a. Two written examinations (150 marks)
i. Paper 1 (3 hours) [100]
ii. Paper 2 (1 hours) [50]
b. Paper 3: A performance examination (100 marks)
c.
Term 1 Assessments:
Practical Test (100)
Written Test (150)
Process work of portfolio tasks:
o Research Task (30)
o Composition Task: Contractual issues (10)
o Improvisation (15)
o Melody writing (10)
o Harmonisation (20)
o Programme Notes Task (10)
o Solo Performance (20)
o Group Performance (15)
Term 2 Assessments:
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Practical Examination (100)
Written Examination(150)
Term 1 Test (Carried over) (10)
Term 2 Test (10)
Test 3 Sound production task
Process work of portfolio tasks:
o Research Task (30)
o Composition Task: Arrangement (15)
o Improvisation (15)
o Melody writing (10)
o Harmonisation (20)
o Programme Notes Task (10)
o Solo Performance (20)
o Group Performance (15)
Term 3 Assessments:

Teachers
responsible
Assessment Tasks internally set
Total
Marks
Date of
completion
Examinations
Individual
teachers



Examination 1 (Final Practical)
(Taught by individual practical teachers
Sight reading (10)
Aural development (10) [CR]
Scales and technical exercises (10)
Three solo pieces (70)
100 November
2013
(CR & LH) Examination 2 (Final Written Papers)
Written examination (Papers 1 & 2)
Analyse notated and /or recorded music visually
and aurally (60)
Transcribe music from one notation system to
another (10)
Critically evaluate representative examples of
music & compare different styles of music (80)
150 November
2013
TOTALS 250


Written Portfolio of Assessment
Common Assessment Task

(CR)
Portfolio Task 1: (LH)
Topic of teachers choice: Programme design and
Programme notes for Practical pieces

10 March 2013

(LDP)
Portfolio Task 2: (LDP)
Arrange a musical work using available technology to
compose, arrange and present the composition.
30 November
2013
Portfolio Task 3: (LH) 30
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(CR) Harmony (20)
Melody writing (10)
October
2013

(LH)
Portfolio Task 4: (CR)
Research assignment in which the pupil will critically
evaluate representative examples of music and
compare different styles of music.
30
July 2013
Continuous Assessments

(CR)
Two tests
Term 1 Test
Term 2 Test
20
July 2013

(CR)
Mid-year examination
Written papers (10 + 10)
Practical performance exam (10)
30
July 2013
SUB-TOTAL 150

CONVERTED TOTAL 100


Practical assessments
(CR) Task 1:
Improvisation
15
October
2013

(Individual
teachers)
Task 2:
Performance of 2 solo pieces publically
20
October
2013

(CR)
Task 3:
Performance of one piece in group context
15
October
2013
TOTAL 50



3.2.3 Grade 10

Assessment of Music for Grade 10 consists of two components:
1. A written portfolio which makes up 25% (100 marks) of the total mark internally set and
moderated, marked.
2. A practical school-based assessment (50 marks) internally set and assessed.
3. Internally assessment which makes up 75% (300 marks) of the total mark internally set,
marked and moderated.
a. A written examination consisting of two papers (150 marks)
i. Paper 1 3 hours (100 marks)
ii. Paper 2 1.5 hours (50 marks)
b. A performance examination (100 marks)
Term 1 Assessments:
Practical Test (100)
Written Test (150)
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Process work of portfolio tasks:
o Research Task (30)
o Composition Task: Sound Production (10)
o Improvisation (15)
o Melody writing (10)
o Harmonisation (20)
o Programme Notes Task (10)
o Solo Performance (20)
o Group Performance (15)
Term 2 Assessments:
Practical Examination (100)
Written Examination(150)
Term 1 Test (Carried over) (10)
Term 2 Test (10)
Test 3 Sound production task
Process work of portfolio tasks:
o Research Task (30)
o Composition Task: Music Careers (10)
o Improvisation (15)
o Melody writing (10)
o Harmonisation (20)
o Programme Notes Task (10)
o Solo Performance (20)
o Group Performance (15)



Teachers
responsible
Assessment Tasks internally set
Total
Marks
Date of
completion
Examinations
Individual
teachers



Examination 1 (Final Practical)
(Taught by individual practical teachers
Sight reading (10)
Aural development (10) [CR]
Scales and technical exercises (10)
Three solo pieces (70)
100 November
2013
(LDP, LH &
KW)
Examination 2 (Written Papers)
Written examination (Papers 1 & 2)
Analyse notated and /or recorded music visually
and aurally (60)
Transcribe music from one notation system to
another (10)
Critically evaluate representative examples of
music & compare different styles of music (80)
150 November
2013
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TOTALS 250


Written Portfolio of Assessment
Common Assessment Task

(LH)
Portfolio Task 1: (LH)
Topic of teachers choice: Concert organization and
planning, programme notes & concert program

10 March 2013

(LDP)
Portfolio Task 2: (LDP)
Arrangement
30 November
2013

(KW)
Portfolio Task 3: (LH)
Harmony (20)
Melody writing (10)
30 October
2013

(LH)
Portfolio Task 4: (CR)
Research assignment in which the pupil will critically
evaluate representative examples of music and
compare different styles of music.
30 July 2013
Continuous Assessments

(LDP)
Two tests
Term 1 Test
Term 2 Test
20 July 2013

(LH & LDP)
Mid-year examination
Written papers (10 + 10)
Practical performance exam (10)
30 July 2013
SUB-TOTAL 150

CONVERTED TOTAL 100


Practical assessments
(KW) Task 1:
Improvisation
15
September
2013

(Individual
teachers)
Task 2:
Performance of 2 solo pieces publically
20
October
2013

(LDP)
Task 3:
Performance of one piece in group context
15
October
2013
TOTAL 50

3.2.4 Grade 8 & 9 Music (Creative Arts - GET)

The music courses for both Grade 8 & 9 serves as preparation for pupils who considers taking
music as a subject in the FET phase. To facilitate more meaningful learning and teaching, the
courses are divided into two separate courses:
General Course for pupils who do not study a musical instrument. The focus of this course
is on developing general musical observation and recognition skills.
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Specialisation Course for pupils who play individual instruments. The focus of this course
in on developing specific theoretical, aural and musical skills pertaining to the development
of musicians.
1. Formal Assessments school-based assessment throughout the year (40%)
a. Assessment of practical work (30%)
b. Assignment/written test (10%)
2. Final Examination at the end of the year (60%)
a. Performance/presentation (60/100)
b. Written examination paper (40/100)

Term 1 Assessments
Weighting General Course Specialisation Course
40 Practical instrumental test
20 Aural Skills Test
30 Music Theory Music Theory
20 Research Assignment
10 Test Test
40 General Knowledge of music

Term 2 Assessments
Weighting General Course Specialisation Course
40 Practical instrumental Exam
10 Aural Skills Test
30 Music Practical skills Music Theory Exam
20 Group performance task
10 Term 1 mark Term 1 mark
40 Written Exam

Term 3 Assessments
Weighting General Course Specialisation Course
40 Practical instrumental Exam
10 Aural Skills Test
30 Music Practical skills Music Theory Exam
20 Group performance task
10 Term 1 mark Term 1 mark
40 Written Exam

3.3 Effective Setting of Exam Papers

3.3.1 Mark allocation for papers

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Marks for the music examination papers are distributed between 4 different skills sets. The
difficulty level of questions should be distributed as a 60% (lower order questions) versus a 40%
(higher order questions).
Theory of Music: Analyze notated and/or recorded music visually and
aurally
(Scales, keys, rhythm, time, intervals chords, transposition, note names,
grouping, etc.)
[60 marks]
36 LOW
24 HIGH

Transcription between notation systems


[10 marks]
10 LOW
Music History: Critically evaluate representative examples of music.
Compare different styles of music critically


Music Technology:
[60 marks]
36 LOW
24 HIGH

[20 marks]
12 LOW
8 HIGH

Total
150 marks

Teachers are urged to work with two separate documents that set out the different requirements
for the paper:
1. Subject knowledge components examinable for each grade according to the table below.
2. Higher/lower order level questions set out to calculate a 90 (Low) and 60 (High) split
between all components of the paper.
Levels 1 4 on the Blooms Taxonomy table below is categorized as LOWER ORDER
QUESTIONS and Levels 5 7 as HIGHER ORDER QUESTIONS.




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BLOOMS TAXONOMY
DESCRIPTION LEVEL EXPLANATION SKILLS DEMONSTRATED ACTION VERBS
EVALUATION
7
Making judgments based on certain criteria. Compare and discriminate between ideas;
assess value of theories, presentations; make
choices based on reasoned arguments; verify
value of evidence; recognize subjectivity.
Assess, decide, rank, grade, test, measure,
recommend, convince, select, judge, explain,
discriminate, support, conclude, compare,
summarize, critique, interpret, justify.
SYNTHESIS
6
The ability to put elements together to form a
new whole.
Use old ideas to create new ones, generalize
from given facts, relate knowledge from several
areas, predict, draw conclusions.
Combine, integrate, modify, rearrange,
substitute, plan, crate, design, invent, what
if?, compose, formulate, prepare, generalize,
rewrite, categorize, combine, compile,
reconstruct.
ANALYSIS
5
The ability to break down a whole into its
component parts. Elements embedded in a
whole are identified and the relations among
the elements are recognized.
Seeing patterns, organization of parts,
recognition of hidden meanings, identification of
components.
Analyze, separate, order, explain, connect,
classify, arrange, divide, compare, select,
infer, break down, contrast, distinguish,
diagram, illustrate.
APPLICATION
4
The ability to use (or apply) information in
new situations.
Use information, use methods, concepts,
theories in new situations, solve problems using
required skills or knowledge.
Apply, demonstrate, calculate, complete,
illustrate, show, solve, examine, modify,
relate, change, classify, experiment, discover,
construct, manipulate, prepare, produce.
COMPREHENSION
3
First level of understanding, recall and
understand information, describe meaning.
Understanding information, grasp meaning,
translate knowledge into new context, interpret
facts, compare, contrast, order, group, infer
causes, predict consequences.
Summarize, describe, interpret, contrast,
predict, associate, distinguish, estimate,
differentiate, discuss, extend, comprehend,
convert, defend, explain, generalize, give
example, rewrite.
KNOWLEDGE
2
Act of remembering facts. Only recall. Observation and recall of information. List, define, tell, describe, identify, show,
know, label, collect, select, reproduce, match,
recognize, examine, tabulate, quote, name.
FRAGMENTED
KNOWLEDGE
1
Recalls knowledge with errors. Unable to recall accurately or coherently; partial
recall.

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An example of an paper analysis document follows below. Each examination paper should be
accompanied by such an analysis sheet and a detailed memorandum that clearly indicates the
LEVEL rating of each question and sub-question, as well as a complete listening list of aural
examples.
3.3.2 Example of Examination Paper Analysis Sheets
A: Examination analysis (higher/lower order questions)

Woodridge College Music Department
EXAMINATION PAPER ANALYSIS
(Blooms Taxonomy)
Grade 12 Music Examination May
2010
Examiner: C. Rademan Time: 3 hours
TOTAL: 150

HIGHER ORDER QUESTIONS [LEVELS 4 6] 60
Marks
Question Marks allocated Level
1.3 4 4
1.5 2 4
2.1 4 4
2.2 6 5
3 10 5
4.2 6 4
7.1 10 6
7.2 4 6
8.2 2 4
9.1 1 4
9.4 1 4
9.5 1 4
10.1 4 4
10.5 3 4

LOWER ORDER QUESTIONS [LEVELS 1 3] 90
Marks
Question Level Marks allocated
1.1 3 1
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1.2 1 1
1.4 2 1
2.3 1 1
2.4 5 3
2.5 2 1
4.1 2 3
4.3 2 3
5.1 2 1
5.2 1 1
5.3 10 3
5.4 2 2
6 20 3
7.3 5 2
7.4 4 3
7.5 2 2
7.6 3 3
7.7 1 2
7.8 3 3
8.1 8 2
9.2 1 3
9.3 1 3
10.2 2 2
10.3 2 2
10.4 2 2
10.6 2 3
10.7 4 3
LISTENING LIST
1. Recitative and Aria (Dido & Aeneas) H. Purcell
2. Anvil chorus (Verdi)
3. Pick up off the floor (Mika)
4. Minuet & trio from Symphony in D major (J. Haydn)
5. Apple core (Gerry Mulligan)
6. Ride of the Valkyries (Wagner)
7. Symphony no. 6 in b minor (Tchaikovsky)
8. Rhapsody in Blue (Gershwin)
9. Riverdance
10. Jazz song (Natalie Cole)
11. Electronic music (Varese)
12. Ride in a fast machine (John Adams)
13. Mowbray Kaap (Freshlyground)
14. Aint misbehaving (Louis Armstrong)
15. Rondo alla turk (Bebop)
B: Tracking document of examinable components

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This document can be used to track the use of all components in the syllabus that was taught
and that will be examined in the current examination.


Section 1: Theory (60)


Topic 1

Topic 2

Topic 3

Topic 4

Topic 5

Topic 6






Section 2: History & Comparison of styles
(60)

Topic 1

Topic 2

Topic 3

Topic 4

Topic 5

Topic 6



Technology (20)

Topic 1

Topic 2

Topic 3







Section 3: Transcription/Transposition (10)

Topic 1

3.3.3 Suggested steps in setting music exam papers

An music examination paper file has been compiled over the last number of years and is
available in the Music Library for your perusal.
1. Find suitable scores and recordings of works that are representative of the genres and
styles of music being examined.
2. Consider the suitability of scores and recordings for a variety of questions that might
include both theoretical, application and comparison questions, for instance.
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3. Instead of printing all score examples in the question paper itself, create a resource
booklet that contains all scores. It is easier for pupils to work with a separate booklet
than continuously paging back.
4. Type papers in 1.5 spacing and allow enough space for pupils to write their answers on.
If there are a discussion question worth 5 marks, it would be assumed that five facts
are required. Therefore, type 5 lines on which these answers could be written.
5. All question papers should contain one 250 word essay question. Six marks are
allocated for factual evidence and four for critical evaluation, comment, application,
insight and well-structured arguments. The topic will be fairly broad and could include
discussion on genre, style, prescribed works, or other aspects of the curriculum. Topics
may include a statement that requires the candidates opinion or insight. The following
rubric can also be used for assessing such questions.
6. Always include extra manuscript paper for rough work at the end of the paper.
7. Number the pages.
8. Include an instruction section on the front page of the paper.
9. Compile a comprehensive memorandum that includes a list of aural examples as well.

3.3 Year Planning

Effective classroom management and teaching is reliant on effective planning. The document
below serves as example of how planning for each term could be done.





Grade 12 Music Year Planning
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DATES CYCLE DAYS &
LESSONS
SUBJECT CONTENT
17/01
28/01
1 2 Technology
3 CTA explained
3 CTA Task 1 & 2 explained and planned
31/01
11/02
2 2 Technology
3 Concert group discussion CTA Task 1
3 Music Theory Revision Worksheet 1
6 Cadences and 4-part writing rules
6 Cadences and revision questions on rules
8 Symphony
8 Symphony
9 Cadences writing exercises
10 Symphony
14/01
24/02
3 2 Symphony
3 Aural
3 Improvisation
6 Cadences
6 Dominant 7
th

8 Symphony
8 Symphony: Beethoven: No. 5, Finale
9 Passing 6/4
HALFTERM
2/03 11/03 4 2 20
th
Century compositional techniques
3 Aural
3 Improvisation
6 4-part writing exercise
6 Chromatic scales & Whole note scales
8 Opera
8 Opera
9 Blues scale
10 Opera
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14/03
25/03
5 2 Opera
3 Aural
3 Improvisation
6 Modes
6 Modes
8 Opera
8 Musicals
9 All scales & key signatures
10 Musicals
28/03 7/04 6 2 Musicals
3 Aural
3 Improvisation
6 Intervals (simple)
6 Intervals (compound)
8 Musicals
8 Musicals: West side story excerpts
9 Intervals
HOLIDAYS
4/05 13/05 7 3 Concert CAT Task handed in & Aural
3 Improvisation
6 Transposition between instruments
6 Transposition between instruments
8 Art songs
8 Art songs
9 Irregular time signatures
10 Art songs: Schubert Erlkonig
16/05
27/05
8 2 SA traditional music
3 Aural
3 Improvisation
6 Time signatures (simple & compound)
6 Time signatures (irregular)
8 Jazz
8 Jazz
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9 Cadential 6/4 progressions
10 Jazz
30/05
10/06
9 2 Jazz
3 Aural
3 Jazz
6 Solfa notation
6 Melody writing
8 Jazz
8 Jazz: Abdullah Ibrahim: Mannenberg
9 Setting words to music
10 Song Types
EXAMS & HALF TERM
6/07 8/07 10 8 Exam paper
8 Rock
9 Solfa notation
10 Rock
11/07
22/07
11 2 Rock
3 Rock
3 Improvisation
6 4-part writing
6 Non-chordal notes
8 Rock: Queen, Bohemian Rhapsody
8 Ethnomusicology & Japanese music
9 Melody writing
10 Japanese music
25/07 4/08 12 2 Indian music
3 Aural
3 Indian music
6 Note names in all clefs
6 Compositional techniques
8 SA black urban music
8 SA black urban music
9 Scales
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10 SA black urban music: Solomon Linda: Mbube
HOLIDAYS
6/09 16/09 13 TRIAL EXAMS
19/09
30/09
14
3/10 7/10 15 2 CAT Research Task handed in (draft 1) & Exam paper
3 Melody CAT Task
3 Melody CAT Task
HALF TERM
13/10
14/10
16 9 CAT Research Task handed in (Final product) & Harmony CAT Task
10 Harmony CAT Task
17/10
28/10
17 2 Improvisation ASSESSMENT TASK (Preparation)
3 Melody CAT Task
3 Melody CAT Task
6 Improvisation ASSESSMENT TASK
6 Revision & Listening exercise
8 Revision & Listening exercise
8 Revision & Listening exercise
9 Revision & Listening exercise
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3.4 Policy on Late Submission of Assignments

Procedure followed for a single piece of homework
First offence 1. Minus 10% off final mark
2. Warning given
3. New deadline set
Second offence 1. Minus 50% of final mark
2. DT 1 given
3. New deadline set
Third offence 1. Minus 80% of final mark
2. DT2 given
3. Contact parents
4. Final deadline set
Fourth offence 1. 0% awarded
2. DT3 given
3. Contact parents

3.5 Music Assessment Guidelines: Progression through the FET
phase

This document is compiled by combining the following two IEB documents: (1) The National Senior Certificate
Handbook: Implementation date: Grade 12, 2012 (for the current grade 11 and 12 pupils) , and (2) The National
Senior Certificate Handbook: Implementation date: Grade 12, 2014 (for the current grade 10 pupils)
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Music Literacies, analysis, theory, composition and aural development
Grade 10 Grade 11 Grade 12
Concepts and skills of music literacy
1. Read and write music with regard to
rhythm, scales, intervals and key
signatures
2. Letter names in Treble and Bass clefs
3. Note values and rests
4. Major, harmonic and melodic minor and
pentatonic scales
5. Simple interval structures within the
octave (major, minor, perfect)
6. Time signatures, rhythm, grouping in
simple time signatures
7. Transposition (On the same pitch,
Octave higher or lower, Between
different clefs)
8. Aural understanding of these concepts

Analysis
Analyse existing works for harmonic, rhythmic
and melodic concepts that have been learned.
Analysis and concepts and skills of music
literacy
Apply the knowledge of scales, intervals and
chords to write and transpose music.
1. Majors and minors of grade 10
2. Pentatonic and Blues scales
3. Chromatic, whole tone, modes.
4. Complex intervals (augmented,
diminished and compound)
5. Compound time signatures, rhythm
patterns, grouping in compound duple,
triple and quadruple time
6. Transposition linked to instruments
7. Aural understanding of these concepts
Analysis and concepts and skills of
music literacy
Analyse existing scores according to:
1. Scales, keys, rhythm, intervallic
structure, transposition, time
signatures
2. 20
th
century compositional
techniques
3. Changing time signatures
4. Non-metric rhythms
5. Shifting accents
6. Asymmetric metres
7. Scores and recordings may be
seen(from prescribed works) or
unseen.
8. Scales & Keys (Revision)
Major and minor scales, Pentatonic
and blues scales, Chromatic,
Whole tone, Blues scales, Modes
Time signatures : Irregular time
signatures & Revision of simple
and compound time signatures
9. Transposition linked to instruments
10. Intervals (Revision)
Compositional techniques
1. Identify and demonstrate the following
compositional techniques
2. Melodic and rhythmic sequences
Transcription
Transcribe music from staff notation to one of the following at the candidates choice:
tablature, sol-fa, guitar chords or figured bass.
Introduction to harmony
1. Learn root position triads in major and
minor keys
2. Primary I, IV, V
3. Secondary II, III, VI
Chords/harmony
Provide chordal basis for melodies
First and second inversions
Primary chords
Secondary triads, including vii.
Chords/harmony
Dominant seventh tetrad
Harmonise melodies
Passing 6/4 progressions
Cadential 6/4 progressions
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4. Learn basic cadences (perfect,
imperfect)
5. Non-harmonic notes: passing notes,
auxiliary notes
6. Use basic chord progressions to
harmonise simple melodies
7. Apply learned harmony to harmonise
simple folk melodies
8. Aurally identify chords used.
Triads in major, minor, pentatonic and
blues scale.
More complex cadences (preceding
chords)
Simple chord progressions in 4-parts
All primary and secondary chords in
majors and minors
Setting of words to music
1. Explore given text to apply rhythmic
patterns
2. Choose voice range
3. Choose key/scale/mode
4. Construct phrases containing motifs
Setting of words to music
4 & 8 bar melodies with words
Setting of words to music
12 bar melodies with words
Melody writing
1. Write short melodies on developed
rhythm patterns in pentatonic, major
and minor scales
2. Develop into 4 and 8 bar melodies
based on given rhythmic patterns in
learnt time signatures
3. Analyse existing works for melodic
characteristics (folk music, simple
melodies)
4. Use of different forms
Melody writing
Develop own 8 & 12 bar melodies in
studied scales.
Melody writing
16 bar melodies in all scales
Compositional techniques
Write Ostinato, Sequence, Variation,
Inversion, Augmentation, Diminution
Non-chordal notes
Compositional techniques
Write 20
th
century compositional
techniques
Non-chordal notes
Arrangement
Arranging an existing work using an
instrument or technology (12 16
bars)
Arranging given 4-part choir work for
Arrangement
Arrange own composition.
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an instrumental quartet or ensemble
Aural Development
1. Identify chords studied.
2. Identify chord progressions studied.
3. Sing or play back a four-bar melody
4. Clap back a four-bar rhythm
5. Sight singing of tone row
6. Identify cadences
7. Identify metrical pulse
8. Sight-singing using tonic sol-fa notation
Aural Development
1. Identify chords studied.
2. Identify chord progressions studied.
3. Sing or play back a four-bar melody
4. Clap back a four-bar rhythm
5. Sight singing of tone row
6. Identify cadences
7. Identify metrical pulse
8. Sight-singing using tonic sol-fa
notation
Aural Development
1. Identify chords studied.
2. Identify chord progressions studied.
3. Sing or play back a four-bar melody
4. Clap back a four-bar rhythm
5. Sight singing of tone row
6. Identify cadences
7. Identify metrical pulse
8. Sight-singing using tonic sol-fa
notation
General Knowledge of Music & Music History
Grade 10 Grade 11 Grade 12
Introduction to music
1. Elements of music
Timbre (tone colour, music instruments)
Duration (tempo, metre, rhythm)
Pitch (melody, harmony, tonality)
Volume (intensity of sound)
Structure
Texture (monophonic, homophonic, polyphonic,
density)
Mood and atmosphere

Musical style:
2. Develop listening skills by listening to a
variety of styles of music to understand
how elements are used to create the
style including rhythm, melody, form,
texture, and instruments used

Form:
Basic forms:
1. binary,
General Knowledge of Music
Identify and describe notated and
recorded/performed music according to
genre, form/structure, instrumentation,
compositional
techniques. Scores may be seen or unseen.

1. Analyse compositional techniques
such as ostinato, sequence, variation,
inversion, augmentation and
diminution.
2. Describe characteristics within social,
historical and cultural context.

Form:
1. Minuet and trio,
2. sonata, sonata-rondo,
3. verse and chorus,
4. theme and variation

Genres:
General Knowledge of Music
Critically evaluate representative examples
of notated, recorded and performed music.
Scores and recordings may be seen (from
prescribed works) or unseen. The focus is on
genre, form/structure, instrumentation and
compositional techniques. The candidate
should have an understanding of the
elements of music and how they are
combined to create musical styles. Listening
skills should be
developed.

Form:
1. 20th century formal structures such
as jazz structures and pop structures
(12-bar blues, AABA, verse-and-
chorus), in addition to those forms
studied in grades 10 and 11.

Genres:
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2. ternary,
3. minuet and trio,
4. rondo
5. Pop and jazz structures (12-bar blues,
AABA, verse-and-chorus)
Genres
1. Popular Music
Focus on representative artists, hit
songs/albums, contribution to the style, and
use of music elements to create the
style.

2. Choose at least five of the following
styles, must include at least one South
African style.

R n B & Motown
Hip Hop
Folk/protest music
Punk
Reggae
Art/progressive Rock
Rock n Roll
Brit Pop (Beatles)
Hard Rock
Country
Disco
Funk

3. South African styles
Cross-over
Kwaito
South African Protest Music
(Masekela/Gwangwa/Makeba)
Afrikaans Protest music (Anti-
5. Romantic music
6. Modern Music
7. piano music,
8. swing,
9. jazz,
10. popular music styles:
Rock 'n Roll
Brit Pop (Beatles)
Hard Rock

Instrumental combinations:
11. orchestra,
12. jazz band,
13. military band,
14. string quartet, etc.


2. Musical theatre (opera and
musicals). The focus is on the
elements of opera and musicals,
types of opera and a comparison
between opera and musicals.
3. Symphonic music from the
Mannheim school to Stravinksy. The
focus is on the overall development of
the symphony (in conjunction with the
development of the orchestra).
Composers should be seen in the
context of their contribution to the
development of the genre, not in a
detailed account of each composer's
style.
4. Songs (including Lieder, popular
styles, jazz standards)
5. South African music, both
traditional (see World Music LO4
AS2) and the following urban styles:
Ingoma buska-mbube-isicathamiya
Marabi
Kwela
African jazz, vocal jive jazz
Mbaqanga
Cross-over
Kwaito

6. Jazz
Background influences including African and
European influences,
Ragtime
Dixieland (New Orleans)
Chicago
Swing
Bebop
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establishment) 1980s and 1990s
Luisterlied 1980s and 1990s
South African Rock 2000s to today

4. Introduction to Baroque music
Characteristics of the Baroque style
period, including instrumentation
Basic knowledge of the genres
associated with the Baroque style
Representative composers and their
works

5. Introduction to Classical
characteristics
Characteristics of the Classical style
period, including instrumentation
Basic knowledge of the genres
associated with the Classical style
Representative composers and their
works

6. Comparison of characteristics of
Baroque and classical style

Instruments:
1. Classify musical instruments according
to sound production:
chordophones
aerophones
membranophones
idiophones
electrophones

2. Instruments of the orchestra
strings
woodwinds
Cool jazz

7. Popular Music
R 'n B Motown
Hip Hop
Folk/protest music
Punk
Reggae
Art/progressive Rock
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brass
percussion

3. Human voice
World Music
1. Explain how specific compositional
characteristics contribute towards the
placement of a work within a social,
historical and cultural context.
2. Describe characteristics of music
within a social, historical and cultural
context.

Two styles to be chosen and compared:
European Folk music
North African
Celtic
South American

World Music
1. Analysis and evaluation of existing
scores and recordings in historical,
socio-economic and political contexts.
2. Comparison of music from different
cultures with regard to harmony,
melody, form, timbre and texture.
3. Include a study of South African
music, both traditional and urban
4. Emphasis on comparing South
African music and other styles and
listening skills.
5. Elements of world music: timbre,
instruments, melody, harmony, metre
and rhythm, form, function
6. Comparison between world music
and art music and other genres
according to harmony, melody, form,
timbre and texture, instruments,
metre/rhythm, function

Two styles to be chosen and compared:
Middle Eastern
Japanese
Indian
Sub-Saharan Africa
Music Technology and the Music Industry
Grade 10 Grade 11 Grade 12
Music Technology Music Technology Music Technology
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Use available technology, such as notational
software

South African Music Industry
The economic cycle of the music industry from
the origin of a musical idea to the publishing
and performing of the work. Possible topics
could include:

1. Origin of the musical idea with the
composer or performer
2. Notation and arranging of the musical
idea
3. Performing, recording and producing
the music
4. Production of music video
5. Recording companies in South Africa
6. Design of CD cover, cutting and
publishing of CD
7. Marketing and selling of CDs and radio
broadcast
8. Music copyright and performing rights.
9. How to register a new composition
10. The reason for registering a
composition
11. Purpose of SAMRO
12. Royalties
13. The terms piracy and counterfeit and
the implications thereof
14. Basic contractual issues related to the
presentation of a live concert
Responsibilities of the performer/concert
organiser
1. Use music technology to enhance a
music composition or arrangement.
2. Play and record arrangement of 4-
part quartet work.
3. Research music industry according
to:
Basic contractual practices related to
live concerts
Basic knowledge of copyright
Necessity of copyright
Royalties
Who needs to be paid and who pays?
Responsibilities of the
performer/concert organiser
4. Understand the terms piracy and
counterfeit and what are the
implications of these terms.
1. Making a backing track
2. Audio and/or audio-visual recording
of the presentation of a composition,
arranged and/or improvised musical
work
3. Investigate process of registering a
composition or recording with
SARRAL and/or SAMRO.
Reasons for registering a
composition.
Purpose of SAMRO and SARRAL
Improvisation
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Grade 10 Grade 11 Grade 12
Improvisation
1. Improvise with rhythmic and melodic
patterns
2. Explore the characteristics of scales
studied (e.g. major, minor, pentatonic
and blues scales)
3. Melodic motifs on simple chord
progressions where one scale takes
one across all the chord changes, such
as pentatonic and blues
4. Rhythmic improvisation: play, read,
write and vary given rhythms
Stylistically employ melodic variation of motifs
based on scales studied
Improvisation
1. Rhythmic and melodic sequences
and variations.
Complete a musical phrase from a
given introduction.
Explore different styles, such as
blues, reggae, South African jazz and
pop with regards to melodic and
rhythmic differences.
2. Phrase structure ( 2 + 2 + 4 )
3. Melodic motifs on simple chord
progressions, e.g. I IV V I
4. Employ melodic variation of motifs
based on the scales studied.
Improvisation
1. Development of harmonic awareness
2. Melodic and/or harmonic
improvisation on candidates choice
of four different scales or modes.
3. Rhythm, melody or chord progression
can be given.
4. Include singing and identification of
various scales (Phrase structure 2 +
2 + 4)
5. Theoretical analysis and practical
application, including improvisations
which require the changing use of
scales implied by chord changes, e.g.
II V I or other progression.
Improvisation
Grade 10 Grade 11 Grade 12
Perform a variety of pieces in group context
Perform a variety of pieces in group context on
one or more chosen instruments
demonstrating:

1. the ability to play at the same tempo as
the group;
2. the ability to start and end at the right
time;
3. the ability to cope technically with the
requirements of the work performed;
the ability to participate in a group.
Group Performances
Perform a variety of pieces in group context.
Display:
The ability to take a supportive or
leading role within the context of the
music performed.
The ability to adapt tone balance and
production.
The ability to cope technically with the
requirements of the work performed.
The ability to contribute positively
towards a group performance.
One piece per year.
Group Performances
Perform a variety of pieces in group context.
Display:
A programme selection
representative of different stylistic
uses of the chosen instrument/voice
within the group context
The ability to determine whether a
supportive or leading role is required
within the context of the of the music
performed.
The ability to suggest appropriate
methods to achieve balance within
the group;
The ability to cope technically with the
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requirements of the work performed;
The ability to interact positively within
a group.
One piece per year

Sight Reading on chosen instrument
Recommended minimum level: grade
2


Sight Reading on chosen instrument
Recommended minimum level:
grade 4

Sight Reading on chosen instrument
Recommended minimum level:
grade 5

Scales, Technical exercises
Recommended minimum level: grade 2
Scales, Technical exercises
Recommended minimum level:
grade 4
Scales, Technical exercises
Recommended minimum level:
grade 5
Perform a variety of solo pieces
1. 2 pieces at minimum grade 2 level
1. An external examination (Unisa,
Trinity/Guildhall, Associated Board or
other recognised examining bodies)
may be included
Solo Pieces on chosen instrument
Recommended minimum level:
grade 4
Total: 4 pieces
Perform 2 pieces publically
Solo Pieces on chosen instrument
Recommended minimum level:
2 pieces on grade 5 level,
1 piece on grade 6 level
Perform 2 pieces publically
Total: 3 pieces
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3.6 Using the MP3 players for Music Exams Guidelines

Charge all MP3 players by plugging them into computers via USB.
Place all the music that you will use for your exam/ test paper in a folder (named e.g.
Grade 12 June 2012)
Very important: rename all files and make sure that the artist is listed as Unknown
artist or just shows an empty space.
An easy way is to burn all your files to a CD and then to rip it again. This way the titles
will be removed, but not necessarily all the artist names.
When ripping your CDs, it is safest to rip it as MP3s and to use a quality of 256 kbps. Go
to Rip Settings in Windows Media Player and change file format to MP3 and change
the sound quality to 265 kbps.
To remove any unwanted information, right click on the file (In Windows Explorer), click
on Properties and go to Details. When changed, remember to click OK or Done.
To copy the music from your computer to the MP3 player, open the folder the music is
in. CTRL A will select all the files.
Plug in the MP3 player via USB.
Wait for the computer to recognise it and open as a folder (which will then look like a
window)
Drag them (by holding in the left button on your mouse) to the MP3 players window.
Make sure that they are copying and wait for it to finish.
Remember to eject the MP3 player (like you would any USB device).
Check that the tracks work and that they do not display any unwanted information on the
MP3 player.
If ok, repeat the above.

How to operate the MP3 player:
Hold in power button until you see the screen light up.
If you see the word Music, press the play button (middle silver button). Do NOT select
Radio or Recordings by scrolling down.
Use the up and down arrows to select All songs.
Press play button.
Press play on Track 1. Make sure that the pupils do NOT use the shuffle function!
To select next track, use side arrows. (you might have to press it twice)
Volume: up and down arrows.
4. SECTION B: Extracurricular Music Lessons

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4.1 Music Lesson Totals

Practical level Number of
lessons per
cycle
Number of
lessons per
term
Minimum
number of
lessons per
year
Matric pupils
(minimum
number of
lessons per
year)
Beginner to
Grade 3
2 11 33 24
Grade 4 5

3 13 40 26
Grade 6 8

4 14 42 28
Grade 6 8
(non-subject
pupils)
3 13 40 26




4.2 Information to share with College music pupils during first
lesson
Below are some guidelines to help you through your first lessons with new pupils. The
information below is also important for old pupils.
Attendance Card
Pupils and teachers are required to complete and sign the attendance card at the end of
every lesson.
This document serves as an official document of lessons and should be completed with
sufficient detail.

The number of lessons per cycle you will receive:
Beginners to Grade 3 level: 2 x 40 minute lessons
Grade 4 5 and subject pupils: 3 x 40 lessons
Grade 6 8 level: 4 x 40 lessons
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Grade 6 8 level (non-subject) 3 x 40 lessons

Normal lesson procedure:
Be prompt.
Dont miss lessons! If you cannot attend a lesson, you have to make alternative
arrangements with your teacher well in advance 24 hours in advance otherwise you
will be charged for that lesson.
If you are ill or not at school for a particular day, also make alternative arrangements
with your teacher and ask your parents to leave a message for your teacher.
Exchange cell phone numbers with pupils for emergencies.
Missed lessons will be dealt with as follows:
o Miss 1 lesson: Warning
o Miss 2
nd
lesson: DT 1
o Miss 3
rd
lesson: DT 2, contact parents
o Miss 4
th
lesson: DT 3, contact parents, placed on probation for one month.
Check class timetables regularly to ensure you know when your lessons are scheduled
for.
You need the following books or files for my lessons.
Concerts/competitions to look forward to:
All music pupils will be required to participate in a band, group or ensemble of some sort. You
will get 3 service hours per term to count towards your promotions for belonging to a band or
choir. Please get involved. There are quite a number of concerts scheduled for this year:
Carol Service
Winter Concert
Knock on Wood Arts Fest
Steelband festival
Earth Hour concert
Day 10 concerts for the school
SASMT music competition

External exams
Trinity exams will happen during May or October for all instruments and grades
depending on the session entered at the start of the year.
Unisa music theory exams up to grade 5 level are entered for certain pupils.

Music as an Additional Subject
Pupils who do not take music as a subject in the FET phase, has the opportunity to do
music as an additional subject.
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Admission to this field of study is reliant on the practical and theoretical progress such a
pupil has shown by the end of the Grade 11 year.
External theoretical and practical examinations for such pupils will be scheduled in the
first session of the matric year.
Currently the Unisa examination requirements are followed by Woodridge College.
Practice times
The music leaders will draw up a practice schedule for BOARDERS to practice daily
(Monday to Thursday) in the music rooms.
No pupils will be allowed to practice after 9pm on any evening of the week.
Keys to all the music rooms are available at the security office for pupils who needs to
practice over weekends.
The security company will monitor behaviour in the music rooms at times when teachers
are not there and has the authority to bar pupils from entering the premises.
Practice times in the steelband room will be co-ordinated by the steelband leader.

Music Teachers

Teacher Instruments and/or responsibilities
Mrs C Rademan Piano, Voice, Choir, subject music, grade 9 music
Mrs L Hughes Piano, Flute, Flute choir, subject music, grade 8 music
Miss L du Preez Violin, Voice, Technology, subject music, grade 9 music,
ensemble
Miss K Witbooi Voice, Brass, choir, subject music, grade 8 music
Miss S Fouche Piano, Steelband
Mr T Uys Clarinet & Saxophone
Mr H Kleinhans Guitar & Rock Band
Mrs E Fouche Piano
Mr L Martin Drumkit

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