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The Odeion School of Music launches two new qualifications

12 July 2023 | Story Dr Anchen Froneman | Photo Supplied

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

“You cannot find Ubuntu in a culture of dominance” – Dr Mamphela Ramphele during second Leah Tutu Gender Symposium

2015-02-28

From the left are: Samantha van Schalkwyk, Zanele Mbeki, Prof Pumla Gobodo-Madikizela and Dr Mamphela Ramphele.
Photo: Johan Roux

Video message from Mrs Leah Tutu

Session 1: Keynote address by Dr Mamphela Ramphele
Ndiyindoda! Yes, you are a man

Session 2: Professor Robert Morrell from the University of Cape Town
South African Gender Studies: Setting the context

Session 3: How can we engage young men to act against violence against women?
Panel discussion by Lisa Vetten (Wits Institute for Social and Economic Research), Despina Learmonth (Psychology Department, University of Cape Town) and Wessel van den Berg (Sonke Gender Justice)

Session 4: Professor Pumla Gobodo-Madikizela
Self-defence as a strategy for women’s resistance: Reflections on the work of Susan Brison

Engaging men to act against gender-based violence in the Southern African context.

This was the theme of the second International Leah Tutu Symposium, hosted by the Gender Initiative of Trauma, Forgiveness and Reconciliation Studies of the University of the Free State (UFS) on Tuesday 24 February 2015.

What does it mean to be man? How can men become active in the fight against gender-based violence? And when does one say: enough is enough? Questions like these set the tone as highly-respected individuals such as Dr Mamphela Ramphele, Prof Rob Morrell, Lisa Vetten and Andy Kawa took to the stage in the Odeion on the Bloemfontein Campus.

Leah Tutu
Unfortunately, Mrs Leah Tutu could not attend this year’s event, but she still managed to send sparks of wit and insight into the auditorium. In her video message, Mrs Tutu referred to the fact that our country has “consigned discriminatory legislation to the rubbish bin of the past”, but we continue to inhabit a divided society.

“We have a constitution and bill of rights that should have sounded the death knell for patriarchy. But women are unsafe across the land,” Mrs Tutu said. “Our freedom cost too much to be left out in the rain,” she urged.

Ndiyindoda! Yes, you are a man
In Dr Ramphele’s keynote address, “Ndiyindoda! Yes, you are a man”, she scrutinised the dominant masculinity model that has supported an alpha-male mentality for millennia. A mentality that celebrates dominance, power and control – where the winner takes it all. How then, can we expect our young boys to embrace the value system of a human rights culture?

“Gender equality is at the heart of our constitutional democratic values. Yet, our society continues to privilege and celebrate the alpha male as a masculinity model,” Dr Ramphele said. This dissonance can only produce conflict and violence.

We encourage our young men to be gentle, communicative, caring people who show their emotions. And when they do, what do we as women do? Do we encourage them?

“Or do we join those who call them wimps, moffies, sissies? How do we respond when they are ridiculed?” Dr Ramphele asked. Are we, as mothers, fathers and grandparents willing to socialise our children to acknowledge a diversity of masculinities as equally valid in our society?

The new man and the new woman of the 21st century need to be liberated from the conflict-ridden dominant masculinity model. They need to be able to shape their identity in line with a value system of human rights as enshrined in our constitution.

Perhaps Dr Ramphele’s message could be summed up by one sentence: You cannot find Ubuntu in a culture of dominance.

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