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12 July 2023 | Story Dr Anchen Froneman | Photo Supplied
Odeion
Odeion School of Music (OSM) at the University of the Free State (UFS) will offer two new qualifications, namely the Advanced Diploma in Opera Studies and the Postgraduate Diploma in Music Performance from next year.

Over the past decade, the Odeion School of Music (OSM) at the University of the Free State (UFS) has been active in designing new qualifications and restructuring current offerings. The OSM introduced the Higher Certificate in Music Performance (in 2017) and a restructured Diploma in Music in 2018 to admit students without the necessary admission requirements for degree studies and develop the necessary skills in that regard. The purpose of these qualifications was to promote inclusivity in providing access to tertiary studies to students who developed musical skills at a more mature age for the first time. 

From next year, OSM will offer two new qualifications, namely the Advanced Diploma in Opera Studies and the Postgraduate Diploma in Music Performance. Applications are currently open and will close on 30 September. Classes will commence in February 2024. 

Dr Anchen Froneman, Programme Director and Senior Lecturer at OSM, says since the commencement of the Higher Certificate in Music Performance (in 2017) and the restructured Diploma in Music, the student intake included a high number of talented vocalists or late-developing instrumentalists. Many students in these programmes were already in their 20s, but through these programmes could develop their inherent talents and passions. Upon finishing the Diploma in Music, the students could then enter a degree qualification in music studies.

“However, the degree programmes are academically oriented while the Higher Certificate in Music Performance and Diploma in Music are vocational in nature. This disjunction led to the design of the Advanced Diploma in Opera Studies to provide a programme through which the students can access a NQF 7 level qualification in a shorter time than the current existing route through the degree programmes that requires another three or four years of study,” says Dr Froneman. 

The Advanced Diploma in Opera Studies

According to her, the Advanced Diploma in Opera Studies aims to prepare students completing the Diploma of Music for professional practice within a single academic year. This specialisation option attempts to enable students with the skillset to partake in Opera productions both locally and internationally as well as to develop an understanding of operatic activities within local communities and specifically to continuously develop young talent for future operatic careers. The modules in the programme include Performance Studies, Vocal Ensemble, Stage Craft and Language for Singers. To serve the teaching duties which are often carried out simultaneously with an operatic career, the modules of Repertoire and Method and Keyboard Skills are included. The Arts Management module serves the management of a professional opera and/or teaching career. The Introduction to Research Skills develops research and academic writing skills in view of possible further postgraduate studies. 

The Postgraduate Diploma in Music Performance

The Postgraduate Diploma in Music Performance, explains Dr Froneman, is a one-year qualification but has dual aims. Firstly, the programme will add to the offerings of the UFS that aims to widen access to tertiary education, especially considering the linear progression within vertical articulation possibilities from the Higher Certificate in Music Performance to the Diploma in Music, followed by the Advanced Diploma in Opera Studies that can eventually lead to the PGDip (Music Performance). Secondly, this qualification is partly directed at individuals with active careers in the music industry (both public and private sectors) who wish to advance performance skills and research ability. The qualification is designed to make a positive contribution towards expanding existing career opportunities for individuals completing the qualification. 

The ability to present two public concerts of high quality as a soloist or chamber musician will be developed using two recital modules. The Main Recital comprises of an approved programme 35 to 45 minutes (for vocalists and brass instruments) or 60 to 70 minutes (for all other instruments) as well as a Short Recital comprising an approved programme approximately 20 minutes (for vocalists and brass instruments) or 30 minutes (for all other instruments). Performance experts oversee and guide the preparation for these public concerts. The Viva Voce module will develop and evaluate a student’s ability to critically reflect upon and discuss musical works presented during the Main Recital.

The expert musician supervising the recital modules oversees this process in which understanding is fostered through practical experience, research, and application. The Structure Research Essay develops the student’s ability to contribute to performance-related scholarship by applying appropriate research methods and writing skills to reflect upon performance practices in, amongst others, historical, analytical, cultural, social or pedagogical aspects.

For more information on these qualifications and applications, please contact: 

Dr Anchen Froneman 
Programme Director and Senior Lecturer: Odeion School of Music 
Faculty: The Humanities
+27 51 401 2526

News Archive

“To forgive is not an obligation. It’s a choice.” – Prof Minow during Reconciliation Lecture
2014-03-05

“To forgive is not an obligation. It’s a choice.” – Prof Minow during the Third Annual Reconciliation Lecture entitled Forgiveness, Law and Justice.
Photo: Johan Roux

No one could have anticipated the atmosphere in which Prof Martha Minow would visit the Bloemfontein Campus. And no one could have predicted how apt the timing of her message would be. As this formidable Dean of Harvard University’s Law School stepped behind the podium, a latent tension edged through the crowded audience.

“The issue of getting along after conflict is urgent.”

With these few words, Prof Minow exposed the essence of not only her lecture, but also the central concern of the entire university community.

As an expert on issues surrounding racial justice, Prof Minow has worked across the globe in post-conflict societies. How can we prevent atrocities from happening? she asked. Her answer was an honest, “I don’t know.” What she is certain of, on the other hand, is that the usual practice of either silence or retribution does not work. “I think that silence produces rage – understandably – and retribution produces the cycle of violence. Rather than ignoring what happens, rather than retribution, it would be good to reach for something more.” This is where reconciliation comes in.

Prof Minow put forward the idea that forgiveness should accompany reconciliation efforts. She defined forgiveness as a conscious, deliberate decision to forego rightful grounds of resentment towards those who have committed a wrong. “To forgive then, in this definition, is not an obligation. It’s a choice. And it’s held by the one who was harmed,” she explained.

Letting go of resentment cannot be forced – not even by the law. What the law can do, though, is either to encourage or discourage forgiveness. Prof Minow showed how the law can construct adversarial processes that render forgiveness less likely, when indeed its intention was the opposite. “Or, law can give people chances to meet together in spaces where they may apologise and they may forgive,” she continued. This point introduced some surprising revelations about our Truth and Reconciliation Commission (TRC).

Indeed, studies do report ambivalence, disappointment and mixed views about the TRC. Whatever our views are on its success, Prof Minow reported that people across the world wonder how South African did it. “It may not work entirely inside the country; outside the country it’s had a huge effect. It’s a touchstone for transitional justice.”

The TRC “seems to have coincided with, and maybe contributed to, the relatively peaceful political transition to democracy that is, frankly, an absolute miracle.” What came as a surprise to many is this: the fact that the TRC has affected transitional justice efforts in forty jurisdictions, including Rwanda, Sierra Leone, Cambodia and Liberia. It has even inspired the creation of a TRC in Greensborough, North Carolina, in the United States.

There are no blueprints for solving conflict, though. “But the possibility of something other than criminal trials, something other than war, something other than silence – that’s why the TRC, I think, has been such an exemplar to the world,” she commended.

Court decision cannot rebuild a society, though. Only individuals can forgive. Only individuals can start with purposeful, daily decisions to forgive and forge a common future. Forgiveness is rather like kindness, she suggested. It’s a resource without limits. It’s not scarce like water or money. It’s within our reach. But if it’s forced, it’s not forgiveness.

“It is good,” Prof Minow warned, “to be cautious about the use of law to deliberately shape or manipulate the feelings of any individual. But it is no less important to admit that law does affect human beings, not just in its results, but in its process.” And then we must take responsibility for how we use that law.

“A government can judge, but only people can forgive.” As Prof Minow’s words lingered, the air suddenly seemed a bit more buoyant.

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