Phonology Versus Phonetics in Speech Sound Disorders

Total Page:16

File Type:pdf, Size:1020Kb

Phonology Versus Phonetics in Speech Sound Disorders Chapter 10 Phonology Versus Phonetics in Speech Sound Disorders WOLFRAM ZIEGLERa aInstitute of Phonetics and Speech Processing, Ludwig Maximilian University of Munich, Germany Correspondence to Wolfram Ziegler: [email protected] Abstract: Historically, aphasiologists have created a deep chasm between phonological and phonetic impairments of sound production. Today, there is still a fundamental separation of aphasic–phonological impairment from phonetic planning impairment (apraxia of speech), both in theoretical models and in clinical taxonomy, although several new developments in phonetics and phonology emphasize that phonetic substance interacts with phonological structure. Yet, these developments have not yet found their way into neurolinguistic theories of sound production impairment. This chapter is focused on the question of whether modern theories of aphasic phonological impairment provide appropriate frameworks to study the potential links or divides between phonetic and phonological sound production impairment. Three different accounts are discussed: (1) the phonological mind theory proposed by Berent (2013), (2) connectionist theories in the tradition of Dell (1986), and (3) optimality theory and harmonic grammar approaches developed by Prince and Smolensky (2004) as well as Smolensky and Legendre (2006). A common property of these frameworks is that they lack any theoretical handle by which a potential role of phonetic substance in the origin of phonological errors can be grasped. As a consequence, these theories are inappropriate to illuminate the pathomechanisms underlying phonological impairment in aphasia. In a final section, several approaches are introduced that appear more promising in this regard. Speaking is one of the most complex and, at the same time, one of the easiest of all human motor activities. On the one hand, it is tremendously complex, because hundreds of muscle commands need to be edited by the brain every second when people speak (Lenneberg, 1967), and these activities need to be synchronized with the cognitive and linguistic processes associated with spoken language production (Levelt, 1989). Speaking is easy, on the other hand, because every healthy child can learn it effortlessly and— unlike writing—without any specific education, and because people do not waste even the slightest attention to the movements of their tongues and lips when they talk. Speaking may accompany almost all other cognitive or motor activities of daily life, without any effort and without committing noticeable numbers of errors. 2 SPEECH MOTOR CONTROL IN NORMAL AND DISORDERED SPEECH Patterns of Sound Production Impairment After Left Hemisphere Stroke Patients with a left hemisphere stroke may lose this capacity. When they speak, their words sound distorted, sometimes beyond being recognizable. One particular subpopulation of these patients, usually those with a lesion in the anterior portion of the language area, suffers from a disorder termed apraxia of speech (AOS). These patients appear to have lost the ease of speaking and seem to be helplessly confronted with the plethora of muscle contractions that need to be controlled for the production of a simple word or phrase, although they still seem to “know how the words should sound” (Ziegler, Aichert, & Staiger, 2012). Their speech is halting and effortful, often with problems initiating an utterance, with groping movements, multiple false attempts, and self-corrections. They make many speech errors1 that often lead to phonetically distorted sound productions. Auditory repetition of the German word wald (English = forest) may for instance sound like /valt/→ [ffːː.. ɰalːtˢ]. (1) Often these patients may also commit phonemic errors of a well-articulated quality, such as /bluːmə/ → [bRuːmə] (English = flower). (2) Because they know from life-long experience how easy it has always been to talk, they are desperate when facing this awful struggling and groping for every single syllable after their stroke. Patients with AOS are generally assumed to suffer from phonetic planning impairment (e.g., Ziegler, 2002). A different group of stroke patients, usually with lesions in more posterior perisylvian (i.e., temporo-parietal) regions of the left hemisphere, may experience striking sound production problems as well, yet of a different kind: Their speech is much more fluent most of the time, and their output sounds largely well-articulated, despite the frequent occurrence of phonemic errors of the sort mentioned earlier (see Example 2). Quite complex errors may occur as well. As an example, a patient with a left inferior parietal stroke produced, in an auditory repetition task, the following errors (excerpted from a longer list): /fRɔʃ/ → [ʃɔʃ] (English = frog) (3) /RIŋ/ → [nIl] (English = ring) /dax/ → [ʃtɔtʃ] (English = roof) /pRInt͡ sɛsIn/ → [mɛlˈtIkin] (English = princess). This condition is called (aphasic) phonological impairment. It is one of the most frequent symptoms found in patients with aphasia and may occur in virtually every aphasia syndrome. Patients with this impairment usually lack the conspicuous groping movements of the articulators seen in the apraxic speakers—that is, errors of the sort 1 All speech errors mentioned in this chapter are authentic examples from German-speaking patients with AOS or with postlexical phonological impairment, respectively. PHONOLOGY VS. PHONETICS IN SPEECH SOUND DISORDERS 3 (see Example 1) mentioned earlier would be very atypical. Moreover, they often seem to be much less concerned about their failures or, in some cases, even be unaware of them. Patients who have predominantly this symptom—with otherwise good comprehension, preserved word retrieval, and preserved syntax—are clinically classified as conduction aphasic; however, this constellation is rare. More often phonological impairment is accompanied by impaired comprehension, and in extreme cases, it may present as a largely incomprehensible “phonemic jargon” (Butterworth, 1992). In the cognitive neurolinguistic tradition, phonological impairment is subdivided into a lexical subtype and a postlexical subtype, and it is ascribed to a processing level where phonological form information is retrieved (Goldrick & Rapp, 2007; Schwartz, 2014). The Motor–Linguistic Dualism of Sound Production Impairment Of note, aphasiologists have construed a deep chasm between phonological impairment and AOS by classifying the former as an aphasic (i.e., nonmotor) symptom and the latter as a motor (i.e., nonaphasic) symptom. Being a part of aphasia, phonological impairment is allocated to the language domain and is therefore, by virtue of standard theories of aphasia (e.g., Caramazza & Zurif, 1976), considered as an amodal dysfunction of purely abstract processes and representations—that is, a disorder affecting the core of the language module. AOS, to the contrary, is said to interfere with one of the tools through which language can be implemented in the physical world—that is, the vocal tract motor system. As is taught in linguistics courses, the implements of linguistic structure—script, gesture, or speech—are insubstantial to linguistic competence; hence, the mechanisms deemed to underlie aphasic phonological impairment are entirely divorced from those underlying AOS. In this understanding, phonological impairment goes more with syntactic or semantic impairment than with AOS, because—like the former (and unlike the latter)— it is part of the language module. The concept of “pure AOS,” which has always played an important role in clinical research (e.g., Graff-Radford et al., 2014), is revealing in this regard, because it views the absence of agrammatism or writing impairment as a crucial criterion for the diagnosis of AOS and as an argument against a linguistic speech problem—not considering that phonological impairment can be dissociated from other aphasic symptoms as well (for a discussion, cf. Ziegler, 2002). The virtually insurmountable divide between a phonological and a phonetic impairment level has created models in which the processing of linguistic units, including phonological representations, is encapsulated from the physical implement of spoken language. In most cognitive neurolinguistic models, speech is an unspecified appendix to lexical and response buffer modules whose properties are uninfluenced by the properties of the speech motor system (e.g., Patterson & Shewell, 1987). Likewise, Dell’s (1986) spreading activation model of word production ends where the motor processes of speaking begin. Phonetic implementation in these models is not only strictly feedforward, but the two parts of the implementation mechanism are even entirely alien to each other. In clinical practice, this taxonomic situation creates high pressure on clinicians in their diagnostic decision about whether a patient’s speech sound impairment is apraxic 4 SPEECH MOTOR CONTROL IN NORMAL AND DISORDERED SPEECH or phonologic, because in making this decision, they need to balance between two fundamentally distinct worlds—movement and language. The situation can become rather challenging, because AOS and phonological impairment (especially of the conduction aphasia type) may appear very similar on the surface, and because the two impairments are influenced by similar critical variables—for example, word length, lexical frequency, or phonological complexity. Therefore, the requirement to deliver a judgment of such primal taxonomic importance and theoretical momentousness is often at variance
Recommended publications
  • Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama
    Script Symbology Sequence, Duality & Correspondence in Screenplays & Drama John Fraim John Fraim 189 Keswick Drive New Albany, OH 43054 760-844-2595 [email protected] www.midnightoilstudios.org www.symbolism.org www.desertscreenwritersgroup.com www.greathousestories.com © 2017 – John Fraim FRAIM / SS 1 “Eternal truth needs a human language that varies with the spirit of the times. The primordial images undergo ceaseless transformation and yet remain ever the same, but only in a new form can they be understood anew. Always they require a new interpretation if, as each formulation becomes obsolete, they are not to lose their spellbinding power.” Carl Jung The Psychology of Transference The endless cycle of idea and action, Endless invention, endless experiment, Brings knowledge of motion, but not of stillness; Knowledge of speech, but not of silence; Knowledge of words, and ignorance of the Word. T.S. Eliot The Rock “The essential problem is to know what is revealed to us not by any particular version of a symbol, but by the whole of symbolism.” Mercea Eliade The Rites and Symbols of Initiation “Francis Bacon never tired of contrasting hot and cool prose. Writing in ‘methods’ or complete packages, he contrasted with writing in aphorisms, or single observations such as ‘Revenge is a kind of wild justice. The passive consumer wants packages, but those, he suggested, who are concerned in pursuing knowledge and in seeking causes will resort to aphorisms, just because they are incomplete and require participation in depth.” Marshall McLuhan Understanding Media FRAIM / SS 2 To Eric McLuhan Relentless provocateur over the years FRAIM / SS 3 Contents Preface 8 Introduction 10 I.
    [Show full text]
  • In the Labyrinths of Language : a Mathematician's Journey
    Chapter 1 What Language Is A Collection of Statements About Language It is good form in the sciences to begin a paper with a review classify- ing and systematizing the earlier formulated conceptions. However, 1 cannot do this in the present case. Statements about language are so various and sometimes so contradictory that it seems impossible to place them according to a precise scheme-logically developed in historical perspective. The subject is complicated by the fact that linguistics is the most ancient scholarly branch. Its sources can be found not only in an- cient Greece but also in ancient India and the Arab world of the past, and, most importantly, these ancient statements about language retain a peculiar interest; even nowadays, they have not become just a property of the archives of the history of science. Without attempting to overcome this enormous difficulty, I shall con- fine myself to quoting, in chronological order, a series of statements about language which I have found most interesting. Sciences develop in time. They grow as trees do: some of their branches wither and fall off, others spread more luxuriantly, and as the tree grows its lower branches become hidden in the earth-they pass into the do- main of history. Linguistics, however, does not follow this pattern of development: this is a mosaic of bright colors in a vast field, and the field turns out to be magical. After new flowers have appeared, the old ones do not fade; they do not lose their brightness and freshness. My collec- tion of statements is but a weak attempt to reflect this bright picture.' 8 The collection of statements about language given below was, in its major pan, compiled by A.
    [Show full text]
  • The Piano Equation
    Edward T. Cone Concert Series ARTIST-IN-RESIDENCE 2020–2021 Matthew Shipp The Piano Equation Saturday, November 21 2020 8:00 p.m. ET Virtual Concert, Live from Wolfensohn Hall V wo i T r n tu so osity S ea Institute for Advanced Study 2020–2021 Edward T. Cone Concert Series Saturday, November 21, 2020 8:00 p.m. ET MATTHEW SHIPP PROGRAM THE PIANO EQUATION Matthew Shipp Funding for this concert is provided by the Edward T. Cone Endowment and a grant from the PNC Foundation. ABOUT THE MUSIC David Lang writes: Over the summer I asked Matthew Shipp if he would like to play for us the music from his recent recording The Piano Equation. This album came out towards the beginning of the pandemic and I found myself listening to it over and over—its unhurried wandering and unpredictable changes of pace and energy made it a welcome, thoughtful accompaniment to the lockdown. My official COVID soundtrack. Matthew agreed, but he warned me that what he would play might not sound too much like what I had heard on the recording. This music is improvised, which means that it is different every time. And of course, that is one of the reasons why I am interested in sharing it on our season. We have been grouping concerts under the broad heading of ‘virtuosity’–how music can be designed so that we watch and hear a musical problem being overcome, right before our eyes and ears. Improvisation is a virtuosity all its own, a virtuosity of imagination, of flexibility, of spontaneity.
    [Show full text]
  • KNOWLEDGE ORGANIZATION KO Contents
    Knowl. Org. 30(2003)No.3/No.4 KNOWLEDGE ORGANIZATION KO Official Quarterly Journal of the International Society for Knowledge Organization ISSN 0943 – 7444 International Journal devoted to Concept Theory, Classification, Indexing and Knowledge Representation Contents Introduction Tennis, Joseph T. Two Axes of Domains for Hjørland, Birger, and Jenna Hartel. Introduction Domain Analysis..............................................................191 to a Special Issue on Domain Analysis........................... 125 Zins, Chaim, and David Guttman. Domain Analysis of Social Work: An Example of an Integrated Methodological Approach.............................196 Articles Albrechtsen, Hanne, and Annelise Mark Pejtersen. Cognitive Work Analysis and Work Centered Design Ørom, Anders. Knowledge Organization in the of Classification Schemes ................................................213 Domain of Art Studies – History, Transition and Hartel, Jenna. The Serious Leisure Frontier in Library Conceptual Changes....................................................... 128 and Information Science: Hobby Domains....................228 Abrahamsen, Knut Tore. Indexing of Musical Genres: An Epistemological Perspective ....................... 144 Sundin, Olof. Towards an Understanding of Afterword Symbolic Aspects of Professional Information: An Analysis of the Nursing Knowledge Domain.......... 170 Hjørland, Birger, and Jenna Hartel. Ontological, Gazan, Rich. Metadata as a Realm of Translation: Epistemological and Sociological Dimensions of Merging
    [Show full text]
  • 1. Oral Expression and Listening Learning of Word Meanings Occurs
    1. Oral Expression and Listening Learning of word meanings occurs rapidly from birth through adolescence within communicative relationships. Everyday interactions with parents, teachers, peers, friends, and community members shape speech habits and knowledge of language. Language is the means to higher mental functioning, that which is a species- specific skill, unique to humans as a generative means for thinking and communication. Through linguistic oral communication, logical thinking develops and makes possible critical thinking, reasoning, development of information literacy, application of collaboration skills, self-direction, and invention. Oral language foundation and written symbol systems concretize the way a student communicates. Thus, students in Colorado develop oral language skills in listening and speaking, and master the written language skills of reading and writing. Specifically, holding Colorado students accountable for language mastery from the perspectives of scientific research in linguistics, cognitive psychology, human information processing, brain-behavior relationships, and socio-cultural perspectives on language development will allow students to master 21st century skills and serve the state, region, and nation well. Prepared Graduate Competencies The preschool through grade 12 concepts and skills that all students who complete the Colorado education system must master to ensure their success in a postsecondary and workforce setting. Prepared Graduate Competencies in the Oral Expression and Listening Standard:
    [Show full text]
  • The Routledge Companion to Remix Studies
    THE ROUTLEDGE COMPANION TO REMIX STUDIES The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic interna- tional movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authen- ticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aes- thetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom. Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012). He researches and teaches principles of cultural analytics and digital humanities in the School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010–12 Post- Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, and received his PhD from the Program of Art and Media History, Theory, and Criticism at the University of California in San Diego. Owen Gallagher received his PhD in Visual Culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online com- munity archive of remix videos, and a co-founder of the Remix Theory & Praxis seminar group.
    [Show full text]
  • Communication Module. Technology in the Classroom, Applications and Strategies for the Education of Children with Severe Disabilities
    DOCUMENT RESUME ED 384 148 EC 303 781 AUTHOR Blackstone, Sarah W. TITLE Communication Module. Technology in the Classroom, Applications and Strategies for the Education of Children with Severe Disabilities. INSTITUTION American Speech-Language-Hearing Association, Rockville, MD. SPONS AGENCY Special Education Programs (ED/OSERS), Washington, DC. REPORT NO ISBN-0-910329-70-2 PUB DATE Sep 92 CONTRACT H086U90018 NOTE 174p. AVAILABLE FROM Fulfillment Operations, American Speech-Language-Hearing Association, 10801 Rockville Pike, Rockville, MD 20852 ($45, $4.90 postage and handling). PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS Assistive Devices (for Disabled); *Augmentative and Alternative Communication; Behavior Rating Scales; *Classroom Techniques; *Communication Aids (for Disabled); *Communication Skills; Early Childhood Education; Integrated Curriculum; Intervention; Needs Assessment; Program Development; Program Implementation; *Severe Disabilities; Skill Development; Student Evaluation; *Technology ABSTRACT This training module is part of a series that provides a basic introduction to using assistive technology with young children (ages 2 to 7) who have severe disabilities in more than one area of development. This module focuses on technology that gives children another way to communicate when speaking is difficult or impossible. The module presents a four-phase intervention process built around a child's educational curriculum. The focus is toward helping the child achieve functional skills in all areas of life, including home, school, and community. The module begins with an introduction outlining the role of technology and members of the technology team and then provides an overview of communication, including the benefits of augmentative communication. The four phases are then presented: assessment and evaluation of effectivenass; program development and communication system implementation; expansion; and independence and growth.
    [Show full text]
  • Music and Other Performing Arts for Sustainable Development Kabarak University, Nakuru, Kenya, 24Th – 26Th October 2018
    Kabarak University International Research Conference on Refocusing Music and Other Performing Arts for Sustainable Development Kabarak University, Nakuru, Kenya, 24th – 26th October 2018 Conference Proceedings Kabarak University International Research Conference on Refocusing Music and Other Performing Arts for Sustainable Development Kabarak University, Nakuru, Kenya 24th – 26th October 2018 Page 1 of 92 Kabarak University International Research Conference on Refocusing Music and Other Performing Arts for Sustainable Development Kabarak University, Nakuru, Kenya, 24th – 26th October 2018 Editors 1. Dr Christopher Maghanga 2. Prof Mellitus Wanyama 3. Dr Moses M Thiga Page 2 of 92 Kabarak University International Research Conference on Refocusing Music and Other Performing Arts for Sustainable Development Kabarak University, Nakuru, Kenya, 24th – 26th October 2018 Sponsors This conference was graciously sponsored by the National Research Fund Page 3 of 92 Kabarak University International Research Conference on Refocusing Music and Other Performing Arts for Sustainable Development Kabarak University, Nakuru, Kenya, 24th – 26th October 2018 Foreword Dear Authors, esteemed readers, It is with deep satisfaction that I write this foreword to the Proceedings of the Kabarak University 8 th Annual International Research Conference held between 22nd and 26th October at the Kabarak University Main Campus in Nakuru, Kenya. This conference focused on the thematic areas of computer, education, health, business and music and attracted a great number
    [Show full text]
  • Understanding Popular Music, Second Edition
    Understanding Popular Music Understanding Popular Music is an accessible and comprehensive introduction to the history and meaning of popular music. It begins with a critical assessment of the different ways in which popular music has been studied and examines the difficulties and debates which surround the analysis of popular culture and popular music. Drawing on the recent work of music scholars and the popular music press, Roy Shuker explores key subjects which shape our experience of music, including music production, the music industry, music policy, fans, audiences and subcultures, the musician as ‘star’, music journalism, and the reception and consumption of popular music. This fully revised and updated second edition includes: • case studies and lyrics of artists such as Shania Twain, S Club 7, The Spice Girls and Fat Boy Slim • the impact of technologies including on-line delivery and the debates over MP3 and Napster • the rise of DJ culture and the changing idea of the ‘musician’ • a critique of gender and sexual politics and the discrimination which exists in the music industry • moral panics over popular music, including the controversies surrounding artists such as Marilyn Manson and Eminem • a comprehensive discography, guide to further reading and directory of websites. Roy Shuker is Associate Professor in Media Studies at Massey University, New Zealand. He is the author of Key Concepts in Popular Music (Routledge 1998). LONDON AND NEW YORK Understanding Popular Music Second edition I Roy Shuker First published 1994 now known or hereafter invented, including by Routledge photocopying and recording, or in any 11 New Fetter Lane, London EC4P 4EE information storage or retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Chicago Guide for Teaching & Learning in the Arts
    TheThe ChicagoChicago GuideGuide forfor TeachingTeaching andand LearningLearning inin thethe ArtsArts MUSIC H VISUAL ARTS H DANCE H THEATER OFFICE of | ARTS | EDUCATION The Chicago Guide for Teaching and Learning in the Arts MUSIC H VISUAL ARTS H DANCE H THEATER OFFICE of | ARTS | EDUCATION Table of Contents music in ChicaGO Acknowledgments vi Welcome 1 Introduction: Public School Arts Education at the Crossroads 2 Vision 4 Instructional Planning for Arts Education 8 Building a Unit Plan 10 A Sweet Home Building a Lesson Plan 12 for Blues Music Developing an Assessment Plan 14 28 Music 17 Soundtrack for Elements of a Quality Music Program 18 a City: Chicago Best Practices for Music Teachers 20 Jazz Music 36 GRADES PRE -K–2 22 The Developing Music Student 22 Scope and Sequence 24 GRADES 3–5 30 The Developing Music Student 30 Latin Music Scope and Sequence 32 Flourishes in Chicago 44 GRADES 6–8 38 The Developing Music Student 38 Scope and Sequence 40 HIGH SCHOOL I–II 46 The Developing Music Student 46 Scope and Sequence 48 One City, Many Traditions: Chicago Folk HIGH SCHOOL III–IV 54 Music 52 The Developing Music Student 54 Scope and Sequence 56 Music Sample Lesson Plans 62 Classical Chicago 60 VISUAL ARTS & DANCE IN ChicaGO Visual Arts 67 Elements of a Quality Visual Arts Program 68 Best Practices for Visual Arts Teachers 70 GRADES PRE -K–2 72 The Developing Visual Arts Student 72 Chicago’s Scope and Sequence 74 Major Museums 78 GRADES 3–5 80 World Dance on The Developing Visual Arts Student 80 the Chicago Scope and Sequence 82 Stage 128
    [Show full text]
  • More Brilliant Than the Sun: Adventures in Sonic Fiction: Concept Engineered by Kodwo Eshun
    -01[-016] -01[-015] More Brilliant Than The Sun: Adventures In Sonic Fiction: Concept Engineered By Kodwo Eshun More Brilliant Than The Sun is a �J )or travelling at the speed of _m�E !:I.� thought, a probe for drilling into new levels of possibility space. 'Its mission is to undermine the concepts this present has of "Health" and "Culture" and to excite mockery and hatred against these hybrid monsters of concepts.' Q Quartet Books -01[-0 1 4] First published in Great Britain by tf-,_, Quartet Books Limited in 1998 1-·'. '- A member of the Namara Group .( 27 Goodge Street London W1P 2LD Reprinted 199 9 Copyright© by Kodwo Eshun 19 98 All rights reserved. No part of this book may be reproduced in any form or by any means without the prior written of the publisher. The moral right of the author has been asserted. Every effort has been mode by the publishers to clear permission for the use of the photograph on the front cover of this book. The owner is invited to submit a claim for reproduction fees. A catalogue record for this book is available from the British Library ISBN 0 7043 8025 0 Printed and bound in Great Britain by Creative Print and Design Wales, Ebbw Vale -01[-0 13] DISCONTENTS oo [ -007] Operating System for the Redesign of Sonic Reality 01[001] World 4: Mutantextures of Jazz Anachronic Cybernetics of the World: George Russell Electronic Swarm Program: Teo Macero & Miles Davis, Herbie Hancock 02 [013] Transmaterializing the Breakbeat The Metamorphonic Machine is Motion-Capturing Your Nervous System: Grandmaster Flash, Knights
    [Show full text]
  • An Analysis of the Creative Arts CAPS Outline for the Foundation Phase
    Musical Understanding: An Analysis of the Creative Arts CAPS Outline for the Foundation Phase Marsanne Malan Thesis presented in fulfilment of the requirements for the degree of Master of Music (Music Education) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Ms Danell Herbst December 2015 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that the reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 3 November 2014 Copyright © 2014 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract Musical Understanding: An Analysis of the Creative Arts CAPS Outline for the Foundation Phase In South Africa we are fortunate to have Music as part of the school curriculum. The new improved curriculum, the National Curriculum Statement Grades R – 12, is currently being introduced and implemented in South Africa from 2012 onwards. As a result of these developments in Basic Education, the researcher saw an open door to explore and discuss Music’s position in the curriculum in a study. Music is now part of the study area Creative Arts in a newly structured subject called Life Skills in the Foundation Phase. Each subject in the new curriculum has a prescribed outline of course material, referred to as CAPS (Curriculum and Assessment Policy Statement).
    [Show full text]