Implementing and enacting a music curriculum in magnet schools, Gauteng Province: The educators’ knowledge

Abstract Different perspectives, pedagogies, pedagogic ideologies, musical backgrounds, and beliefs account for the challenges experienced by music educators in the Gauteng Province, South Africa, in implementing and enacting a music curriculum, especially in Music Magnet Schools. These challenges result in dissonance and tensions regarding music streams and teaching practices. Hence, the investigative process of this study focused on educators’ knowledge in implementing a music curriculum in Music Magnet Schools in Gauteng Province. The research objectives of the study were to investigate educators’ technological, pedagogical, and content knowledge of implementing a Music Magnet School Programme in the Gauteng Province. To understand how educators’ technological, pedagogical, and content knowledge influence successful implementation of a Music Magnet School Programme in Gauteng. And to investigate why educators’ technological, pedagogical, and content knowledge of implementing a Music Magnet School Programme in the Gauteng Province manifest itself in particular ways. Integrated mixed methods drawing from elements of qualitative and quantitative traditions were employed for this study. The rationale for employing mixed methods was to investigate the structured (what) and the unstructured (how) of implementing the music curriculum. The study’s findings inferred that in their teaching, Music Magnet School educators follow the professional, societal, and personal propositions that later influence their teaching practices. Moreover, the findings showed that most participants were notable opponents of a pragmatic music curriculum. Thus, this article recommends the four propositions that could assist in deepening educators’ understanding of several types of knowledge as an attempt to knowledge building.


PUBLIC INTEREST STATEMENT
The study focused on investigating the implementation of the music curriculum.Numerous factors, like societal and professional differences shaping teaching and learning regarding curriculum implementation, have always been in a state of quarrelsome disagreement.The study identified ways to bridge the gap between formal and informal education and methods of implementing the music curriculum by marrying the strengths of each.This study suggests that there should be an integration of different streams underpinned by the strengths and values of each to attain the curriculum goals fully.This study is part of an unpublished Ph.D. thesis titled 'Educators' Technological, Pedagogical and Content Knowledge of implementing a Music Magnet School Programme in the Gauteng Province".

Introduction
The body of literature reviewed in this study has argued for educator knowledge to become a fundamental aspect in determining educators' teaching practices and knowledge building.Khoza (2020) sees knowledge building as a framework for curriculum activities triangulated into professional, societal, and personal divisions.The knowledge base of teaching is becoming a multifaceted pathway to effective musical education, and educator knowledge has always been strongly related to individual experiences and perspectives.According to Georgii-Hemming (2013), educator knowledge can be classified into two categories, namely, codified knowledge and context-specific knowledge.Codified knowledge is underpinned by formal/vertical learning, primarily cognition or propositional knowledge acquired through previous learning and various contextual situations (Georgii-Hemming, 2013).Alternatively, context-specific knowledge is acquired informally and is underpinned by informal/horizontal learning that is practical and context-specific (Georgii-Hemming, 2013).The understanding of music teaching in a broader sense is the practice of embodying professional and societal knowledge and skills by music educators to teach music in multiple learning contexts, including formal and informal settings.Tardif's (2013) study argues that teacher education programmes should be part of the knowledge bases of teaching, tackling the matter from a sociological and historical angle.Tardif (2013, p. 108) defines educator knowledge as "multifaceted knowledge, made up of a more or less consistent combination of personal and cultural knowledge, professional training, disciplinary knowledge, curricular and experiential knowledge".Tardif (2013) presented that personal and cultural knowledge stems from socialisation, prior learning, and life history.It is associated with experiences connected to the everyday social culture, which is the family and environment.Professional knowledge is a set of knowledge that one gets from educators at teaching institutions.The main aim of attaining this knowledge is to train educators to have in-depth knowledge of specific scientific practice, which is pedagogical knowledge associated with the science of education.Disciplinary and curricular knowledge is acquired through universities in the form of disciplines in different faculties.Curricular knowledge is also obtained through course contents; it is specifically organised in school programmes designed for educators to learn and apply.According to Tardif (2013), experiential knowledge comprises all the other types of knowledge, but is reconstructed through actual real life and is acquired outside of training institutions.In other words, it is practical knowledge that is validated by experience.However, this study focuses on the three main educator knowledge bases, technological, pedagogical, and content knowledge, in implementing and enacting the music curriculum in Music Magnet Schools in Gauteng, South Africa.
The concept of Magnet Schools emerged in the United States of America in the late 1960s and early 1970s in the wake of the Civil Rights Movement.Social change movements, namely: Civil Rights Movement, the Student Movement, the Anti-Vietnam War Movement, the Women's Movement, the Gay Rights Movement, and the Environmental Movement, all began in the 1960s (Mickelson, 2003).The American Civil Rights Movement was the first movement to become wellknown for fighting for African Americans' equal rights.Organisations like the Student Nonviolent Coordinating Committee (SNCC) and the Black Panther Party struggled for black liberation and revolutionary self-determination (Williams, 1997).School districts adopted the Magnet School model and began to establish magnet schools to draw students to specialised schools throughout their districts to redress the widespread inequality among schools and school districts in response to the legal victories of the Civil Rights Movement during the 1970s.
In Gauteng, South Africa, on 3 December 1999, circular 113 of 1999, "Redeployment of educators at decommissioned extra-curriculum music centres" was sent to the principals and staff of all ordinary primary and secondary schools, schools for learners with special needs, all chief directors and directors at head office, district offices, and regional offices, members of governing bodies, teacher organisation unions, and relevant non-governmental organisations (Gauteng Department of Education, 1999).In this circular, the Gauteng Department of Education saw a need to address past injustices by closing 58 extracurricular centres for music so as to accommodate and introduce music to township schools that previously did not offer music as a subject.The programme was implemented also to attract more learners, especially in the Further Education and Training (FET) Phase, who would major in music so as to preserve the art subject.
Under apartheid, South African education reflected a fragmented society; the curriculum was monocultural and only served one race over others.However, the implementation of educational reforms and curriculum transformation post-1994 brought some changes.Several researchers such as Rijsdijk (2003), Reinecke (2007), Wiggins and Wiggins (2008), Hallam et al. (2009), Jacobs (2010), Drummond (2015), Schonmann and Waxmann (2015), and art educators especially in South Africa, emphasised that radical changes after the country's democracy in 1994 were implemented without preparing educators for the curriculum changes.Hoadley (2018) accentuates that there should be a shift in educator knowledge status whenever there is a curriculum reform.
Music as a subject in the Gauteng province has not gained extensive growth regarding the number of learners doing music as a subject.Instead, the number has gone down.Development in knowledge-building of technological, pedagogical, and content knowledge is necessary for the existing Music Magnet School educators.There are more learners enrolled in the programme than those taking music as a subject in the FET Phase.
This study argues for and propositions an integrated approach based on the TPACK principles to address the palpable tensions between the professional and the societal propositions of implementing/enacting the music curriculum.The discussions on the propositions suggest the significance of applying TPACK as a transformative model for knowledge-building.The development of a music curriculum that encourages an integrated approach is of utmost importance.Music educators should also be continuously developed professionally.
In a bid to depict an effective implementation of the music curriculum, three research questions were addressed with a view to making propositions for effectively implementing the music curriculum.

Research questions
• What are educators' technological, pedagogical, and content knowledge of implementing a Music Magnet School Programme in the Gauteng Province?(Descriptive question addressed by questionnaires).
• How do educators apply technological, pedagogical, and content knowledge in implementing a Music Magnet School Programme in the Gauteng Province?(Operational question addressed by observations).
• Why do educators' technological, pedagogical, and content knowledge of implementing a Music Magnet School Programme in the Gauteng Province manifest itself in particular ways?(Philosophical question addressed by semi-structured interviews and focus group discussions).

Purpose and focus
The study investigates educators' technological, pedagogical, and content knowledge of implementing a Music Magnet School Programme in the Gauteng Province.The focus is on the implementation of the music curriculum.Technological Pedagogical and Content Knowledge is an extension of Shulman's theory (Shulman, 1986) where the intersection informed foundations of teaching and learning of content and pedagogy.There are three forms of knowledge at the heart of the TPACK: Content (CK), Pedagogy (PK), and Technology (TK), and the intersection between the three bodies of knowledge is essential.At this intersection are Pedagogical Knowledge (PCK), Technological Content Knowledge (TCK), Technological Pedagogical Knowledge (TPK), and Technological Pedagogical Content Knowledge (TPACK) (Hannaway, 2016).An overlap of three forms of knowledge leads to four more kinds of interrelated knowledge.Mishra and Koehler (2006) framework emphasise the connections and the relationship between and among CK, PK, and TK.Mishra and Koehler (2006) point to the mistake made by educators who often consider the forms of knowledge to be separate.The interactions of the knowledge are described below:

Content knowledge (CK)
The knowledge about the "actual subject matter that is to be learned and taught" (Mishra & Koehler, 2006, p. 1026).

Pedagogical knowledge (PK)
The knowledge about the "processes and practices or methods of teaching and learning and how it encompasses, among other things, overall educational purposes, values, and aims" (Mishra & Koehler, 2006, p. 1026).This knowledge includes an in-depth understanding of the expertise to be followed in the classroom.It also requires that educators develop an in-depth knowledge of theories (cognitive, social, and developmental) of learning and pedagogical knowledge (Mishra & Koehler, 2006).

Technological knowledge (TK)
The knowledge about "standard technologies, such as boards, chalk, and blackboard, and more advanced technologies such as internet and digital videos" (Mishra & Koehler, 2006, p. 1027).Technology is continually changing; therefore, its nature needs to shift with times as well.

Technological content knowledge (TCK)
The knowledge about how technology and content are reciprocally related (Mishra & Koehler, 2006).Educators need to not only know the subject matter they teach; they also need to familiarise themselves with how the content can be augmented with the application of technology.

Technological pedagogical knowledge (TPK)
The knowledge "of the existence, components, and capabilities of various technologies as they are used in teaching and learning settings, and conversely, knowing how teaching might change as the result of using particular technologies" (Mishra & Koehler, 2006, p. 1027).This form of knowledge includes indepth knowledge of tools and how to apply them, particularly different strategies on how technology can be used.

Technological pedagogical content knowledge (TPACK)
The "emergent form of knowledge that goes beyond all three components (Content, Pedagogy, and Technology).It is the basis of good teaching with technology and requires an understanding of the representation of concepts using technologies, pedagogical techniques that use technologies in constructive ways to teach content, knowledge of what makes concepts difficult or easy to learn" (Mishra & Koehler, 2006, p. 1027).

Research approach and design
This study employs mixed methods research to investigate the educators' knowledge in implementing and enacting the music curriculum in the Music Magnet Schools in South Africa.Creswell and Creswell (2018) define mixed methods approaches as plans and procedures undergirding the broad assumptions and detailed data collection/generation analysis and interpretation methods.In this study, mixed methods are defined as combining different elements of qualitative and quantitative approaches for a deeper understanding of the study's phenomenon and corroboration in a single research enquiry (Johnson et al., 2007).This definition views mixed methods as a methodology and not just a simply mixed method that includes qualitative and quantitative research.Mixed methods as methodology is a philosophical assumption that guides the collection/generation and analysis of data and the combination of the two approaches during the research process.Mixed methods are employed to develop a better and more context-specific instrument by collecting and generating data and integrating quantitative and qualitative methodologies to better understand the study's problematic issue.This study's rationale for employing mixed methods was to investigate the structured (what) and the unstructured (how) of implementing the music curriculum.Also, it was necessary for triangulation purposes to mutually corroborate the findings of the study.In justifying the mixed methods approach, Cohen et al. (2018) state that the method yields a richer and more robust understanding of a phenomenon than when only a single approach is utilised in a study.This study employed the Convergent Parallel Design.The primary purpose of choosing the design was to obtain various data that would complement each other from the same topic to understand the research problems better.In a convergent parallel design, qualitative and quantitative data are merged or converged for a thorough analysis and deeper understanding of the research problem (Creswell & Creswell, 2018).Data is collected and generated at the same time and interpreted as overall results.

Data generation methods
Numerical (quantitative) data was obtained through questionnaires augmented by reflective activity for educators to reflect on their experiences in order to address the descriptive question.Qualitative data were simultaneously generated through observations that primarily addressed the operational question and through one-on-one semi-structured interviews and focus group discussions that addressed the philosophical research question and increased the study's credibility.Data generation started in mid-March 2021 as schools were reopened mid-February after the Summer break.The reflective activity together with questionnaires were emailed first to all the sampled respondents/participants.Consequently, interviews with Music Magnet School Departmental Heads (DH) followed later.Only a few DHs were interviewed, as there were no DHs in other schools.The one-on-one interviews with DHs were later followed by interviews with stakeholders.The focus group discussions were conducted at the end, followed by the class observations as the final data generation method.

Close and open-ended questions
Data collected through structured selected-response questionnaires and the use of a reflective activity (open-ended) assisted in answering the descriptive question, "What are educators' technological, pedagogical, and content knowledge of implementing a Music Magnet School in the Gauteng Province?"Choosing this method enabled the use of the same questions for all subjects (Creswell & Creswell, 2018).An open-ended questionnaire for reflective activity was designed, which provided the foundation for semi-structured interviews for the participants.The reflective activity and the questionnaire were emailed eight weeks prior to the interviews to give the participants enough time to go over the questions and respond to them.

One-on-one semi-structured interviews
One-on-one semi-structured interviews were conducted specifically with three stakeholders from the Gauteng Department of Education and some of the Departmental Heads.The duration of all interviews and group discussions lasted 60 minutes.Semi-structured interviews generated an in-depth understanding of why educators apply technological, pedagogical, and content knowledge of implementing a Music Magnet School Programme in the Gauteng Province in particular ways, which is a philosophical question of the study.Interviews investigated educators' attitudes, opinions, and emotions on three knowledge bases.They were conducted once per participant via Zoom due to COVID-19 regulations.However, some interviews were conducted in person and telephonically as the situation permitted.

Observations
For this study, participation observation was followed to answer the operational question of "How do educators apply technological, pedagogical, and content knowledge of implementing a Music Magnet School Programme in the Gauteng Province?"Employing observation of actual lessons allowed me to see the teaching resources utilised by the Music Magnet School educators and the activities the learners engage in when learning.Observations augmented the data generated from the participants in their responses to the reflective activity and questionnaires.A schedule for the observations was appropriately drafted, which served as a guide for all planned observations.Due to COVID-19 regulations, all participants were requested to self-record their lessons without the researcher's presence; however, a different format was followed; not all educators could selfrecord due to some challenges, such as not having enough space in their devices.I attended some of the class observations.Observations lasted for 60 minutes or more per lesson and happened across the entire week in each sampled school until saturation was reached.

Focus group discussion
"Focus groups are contrived settings, bringing together a specifically chosen sector of the population, often previously unknown to each other, to discuss a particular topic given" (Cohen et al., 2018, p. 532).Focus group discussions can be cost-efficient and time-efficient and generate a broader range of responses than when one-on-one interviews are conducted.The focus group discussion method was chosen to supplement and complement research questions.Considering the description by Cohen et al. (2018) on what the focus group entails, 60 per cent of participants were known to the researcher as most of them are music educators in a Music Magnet School Programme.A collective group response to the research problems and questions yielded a range of expected responses, even though there were individual differences.Cohen et al. (2018) suggest a number of between six and eight people at a given time.Each Music Magnet School is comprised of six educators (one DH and five Post-Level 1 educators).This is the normal and accepted structure.However, in some schools, the number of educators varied between 2-6, and there were no Departmental Heads in some schools.

Sampling
For this study, both probability sampling and non-probability procedures were followed by applying cluster and purposive sampling techniques.Probability sampling is when samples are selected from a larger population, ensuring that every element from the study's population has a known chance of being selected.Generally, probability sampling strategies are used in quantitative research and may be included in mixed methods research (Kaushik & Walsh, 2019).The results obtained from using probability sampling are typically statistical in nature.Cluster sampling was employed to get 14 Music Magnet Schools.Cluster sampling is multistage and uses pre-existing clusters randomly selected from a population (Kaushik & Walsh, 2019).The cluster sampling technique depends upon the use of random selection.The cluster sampling technique was applied to choose the schools that fall under 15 various Gauteng districts, giving each district or cluster a fair chance to be represented.According to Denscombe (2010), the cluster sampling technique is utilised to select specific clusters, and within each cluster, all people or items are included in the sample.A sample is a small subgroup chosen for the study.The sample was selected from a larger population of 28 Music Magnet Schools under 15 school districts.Schools were randomly selected from each district to produce a sample of 14 schools, one from each district.A purposive sampling approach was followed to select stakeholders within the Gauteng Department of Education to answer the philosophical question.They hold expertise and experiences with regards to the phenomenon of this study.Purposive sampling, according to Denscombe (2010) and Kaushik and Walsh (2019), refers to a hand-picked sample that is based on relevance to the phenomenon being investigated and the knowledge of the phenomena by the participants.The technique usually fits with qualitative and mixed methods research.Participants were purposely chosen to obtain different perspectives on different philosophies of music education that underpin Western and African music instruction.The sample size comprised 58 respondents from a population size of 127 educators.For the reflective activity, only 33 participants returned the questionnaires.Nine music educators were involved in classroom observations, while 34 educators participated in focus group discussions.Additionally, descriptive statistical analysis was used to analyse data collected quantitatively.For qualitative data, thematic analysis procedures were followed.Thematic analysis, according to Kiger and Varpio (2020) is a method used to analyse data generated qualitatively and construct themes and identify and report repeated patterns.

Ethical issues
Participation in this study was acquired through participants' documented informed consent, which detailed the study's information, purpose, and intention.The interviewees obtained informed consent in writing.According to Cohen et al. (2018), ethics are defined as principled sensitivity to others' rights.All participants or respondents were assured confidentiality and anonymity.They were informed that it is within their rights to withdraw at any stage should they feel discomfited.Learners were strongly encouraged to participate in observations without being coerced.The more sensitive the information, the stronger the safeguard to protect the participant's or respondent's privacy, which was their fundamental human right.General descriptions were applied in all reports instead of real names and places.Contributors' names were removed and replaced with study codes immediately after receiving data from all respondents.I received two gatekeepers' letters from the Gauteng Department of Education and the institution where I was enrolled during the time of this study.

Addressing the research questions
The three-dimensional but complementary research questions made up of the descriptive (what), operational (how), and philosophical (why) of educators' technological, pedagogical, and content knowledge of implementing a music curriculum were formulated to guide the investigation of the study.Entwined with research questions were the research objectives, which assisted in how the research questions were to be investigated.The study was also driven and supported by the Technological, Pedagogical, and Content Knowledge (TPACK) framework.

What are educators' technological, pedagogical, and content knowledge of implementing a music magnet school programme in the Gauteng province?
The findings obtained from questionnaires addressing the descriptive question of the research study focused on determining what content, technologies, and methods were used by the Music Magnet School educators in implementing the music curriculum.See responses by respondents to the questionnaire in APPENDIX A.
The research findings signify that most respondents were males in their forties.This may be due to various reasons, such as professional practice as the South African music industry is male dominated.Also, the playing of instruments is still male dominated (Moelwyn-Hughes, 2013).In a Music Magnet School meeting held on Wednesday, 27 th September 2021, it was reported that by the end of August 2021, there were 139 Music Magnet School educators, of which 79 were males and 60 were females.The report suggests that the female-to-male ratio had not changed, even though there were more educators added to the programme.
Section B of the questionnaire revealed that the calibre of music educators in the programme are highly qualified Western-trained educators, guided by the professional proposition.The findings depict the piano as discernibly the most taught instrument.To understand the technological, pedagogical, and content knowledge of educators in implementing the music curriculum, it was necessary to establish their musical background first.An inference of the findings, especially on the most taught and played instrument, insinuates a common existing approach to teaching music, which is still the one-on-one approach.Some educators played and taught more than one instrument, as indicated with different colours.The Indigenous African Music instruments were the least taught and played instruments, implying that professional knowledge took precedence over societal knowledge when teaching musical instruments to learners.Also, educators' qualifications and experience suggest positive connotations, for instance, self-knowledge, which positively informs teaching experience and knowledge building by educators.The Department of Education in the CAPS document stipulates the minimum requirement for a music educator, which is a Bachelor's Degree (DoE, 2011).Most educators are qualified beyond the stipulated qualifications.
Section C revealed educators' technological, pedagogical, and content knowledge of teaching music, the level of understanding of curriculum goals, educators' success in implementing the music curriculum, adequate instructional and technological resources when teaching music, adequate training in technological, pedagogical, and content knowledge, and adequate support in applying technology in their music teaching were asked.This section also questioned educators' professional development in CAPS training, music content, music pedagogy, and ICT.Furthermore, a question on the aspects of Indigenous African Music was added.The analysis of findings, especially in this section, is based on respondents' beliefs and not necessarily on how deeply they understood the curriculum.The implications of the findings reveal that even though respondents indicated an average rate of implementing the music curriculum, the majority had a high understanding of the curriculum goals (objectives, outcomes, and aims) as suggested by Khoza (2016).The implementation of the curriculum is affected firstly by the inadequacy of resources and technological tools and secondly by the majority of respondents not receiving training in ICT, technological, pedagogical, and content knowledge.Interestingly so, most respondents received training in music content, suggesting in-depth content knowledge.Most educators indicated not receiving training in CAPS, implying no mediation of the curriculum when it was first introduced.Additionally, the findings suggest that the main impediment is a lack of training, especially in educator knowledge domains, as suggested by the TPACK framework.

Technological knowledge
Educators' technological knowledge focuses on resources, which are objects or people conveying teaching and learning (Khoza & Mpungose, 2020).A common issue among educators was that their schools did not have adequately trained music educators to teach Indigenous African Music (IAM).They also have insufficient musical instruments.Similarly, several learners did not have musical instruments.Insufficient resources were cited as the main challenge regardless of the music stream the educator taught.The challenge of resources, especially for Indigenous African Music, affected educators' goals.Educators' objectives for teaching music varied.For some, teaching music was an obligation to follow the curriculum, while for others, the goal was to guide learners to become astounding performers who could fluently sight-read music.Additionally, most participants indicated not having enough technological resources, such as hardware resources (laptops and mobile devices and software such as Sibelius), which are driven mainly by societal considerations for teaching and learning music.

Pedagogical knowledge
Of the 58 sampled participants, most did not receive training in pedagogical knowledge for the CAPS/Magnet School music curriculum, and Information and Communication Technology.The findings suggest that even though there is a music curriculum, most educators relied on their experiences and background.One participant alluded to the self-efficacy by music educators that "everybody is doing their own thing.You will not hear things like how far are we all those who are teaching Jazz?What are we teaching now with our learners and those who are teaching IAM or Western Arts Music (WAM)"?Another participant observed that "the Music Magnet School teachers rely on themselves".

Content knowledge
Educators' content knowledge, according to Shulman (1986), is subject-matter-specific professional knowledge.However, Yates and Grumet (2011) state that educators guided by professional knowledge should not assume that content knowledge could be replaced by pedagogical knowledge.In music, content/professional knowledge is a skill that the educator should possess to effectively teach learners.However, Millican (2013) warns against educators running the risk of perceiving a high degree of content knowledge as a determinant for conveying the knowledge or skill to others.
Most music educators were trained in Western Arts Music and predominantly taught the Western music stream based on the findings.Those who taught other streams, especially African music, South African Jazz or Indigenous African Music, or a combination of all the streams, were guided by European ideologies.The CAPS curriculum is designed with content that is highly redolent to Western music.Carver (2020) attested to the apparent dichotomy between Western and African music, for African music as taught in schools does not follow its theory.Every learner, whether doing Jazz, WAM, or IAM, followed the same prescribed Western music theory.There are three main domains in Western Arts Music, namely, performance, theory, and composition.The theory of music augments literacy in music playing and for analytical purposes.The above statement suggests that music theory for IAM learners has an insignificant authentic function in supporting the performance component.Hence, there is no alignment between the African practical and the Western theoretical content.Ashton-Bell (2014) also suggests that rather than be the central ideology, Western music should be used as a hermeneutical reference point for all other streams.Only transcribed music can be read at sight for IAM; however, the song's authenticity becomes lost in most cases.Bennett (2015) regards Western music theory as a cultural filter suppressing other cultures.Jazz's notated songs, though a bit different, serve as a structure to a song to be played; otherwise, each player gives a different interpretation of it in terms of the mood.Kivijärvi and Väkevä (2020) contend that teaching music using the Western Art theory was solely to shape learners into Western music practitioners.Kivijärvi and Väkevä (2020) further argue that music educators sometimes teach Western music theory without critically reflecting on its relevance to other different genres of music.Consequently, Western music theory, rather than being applied as a universal standard of how music is to be learned, should be used as a framework for guiding the analysis of musical works in performance.

How do educators apply technological, pedagogical, and content knowledge in implementing a music magnet school programme in the Gauteng Province?
The second research question, the operational "how," sought to establish how educators apply technological, pedagogical, and content knowledge in implementing a music curriculum.Khoza and Mpungose (2020) referred to societal knowledge building as knowledge, which addressed the operational "how" question of teaching and learning.

Pedagogical knowledge
The findings indicated that only a few music educators received formal training in pedagogy.Daniel and Parkes (2017) refer to this group of educators as practitioners who happen to teach music as they relied primarily on their previous experiences.These educators do not necessarily follow the prescribed traditional pedagogies but rely on their intuition and how they were taught, especially when teaching IAM and Jazz.However, relating to the notion that music played in the communities is practised in formal settings as it is played in the community, the findings indicated that it was not the case.Indigenous African Music was taught and developed from the conceptual content derived from Western music.Yates and Grumet (2011) believe that formal pedagogical practice had little value in African music learning.This suggests that music lessons should mirror what and how learners are taught music in the community.Another aspect confirmed by some participants is how learners were taught to play African music instead of performing it.The emphasis was that, in the community, a child is not taught how to play but engages in the actual playing and learns from directly participating, which is not how it is depicted in the curriculum document.This has left many music educators grappling with how African music should be taught and enacted.

Technological knowledge
The findings also indicated that several participants applied technology in their practice even though there was a lack of resources and inadequate training in technology.The use of YouTube by participants was an example of technological knowledge driven by the societal proposition.Learners were not given hard copies of music scores, but they were directed to YouTube for listening and demonstration of songs.Khoza and Mpungose (2020) referred to this type of teaching and learning as digitalised curriculum where specific hardware, software, and pedagogies are used, which may be driven by either professional or societal propositions.Several educators embraced the application of technology in their teaching and learning, while others were still finding their way.Khoury (2017) acknowledges that sometimes learners, as digital immigrants of technology, become the forerunners in applying technological knowledge; therefore, educators should create an environment that accommodates such.Prensky (2012) refers to learners who have been born into technology and who make use of technology daily as digital natives.One participant asserted that learners in her school used sound cards to compose and create their music without any formal music training.The use of technology demands educators to apply new pedagogical practices that call for a shift in music values and philosophies.An application of hardware resources such as laptops and mobile devices and software such as Sibelius were the most used technological tools.It was apparent that a conspicuous pedagogical influence for some highly trained music educators was socially driven.These educators (of different age groups interviewed during the study) taught music the way they were taught, thus replicating the concept of learning how to teach music on the job.

Content knowledge
Moreover, the findings signified the goals of educators following the societal proposition when teaching music to learners.According to Makumane and Khoza (2020), goals in the social proposition are driven by learning outcomes, a demonstration by learners acquired through learning experiences.Learners were encouraged to play their compositions, improvise and participate in group performances to promote creativity and independence.See Appendix B. Educators worked as facilitators, mentors, pacemakers and guided learners to produce their content.However, assessment guidelines for the informal practice were still not clear.Carver (2020) confirmed that there were still no guiding principles for assessing Indigenous African Music where formal education was concerned.

Why do educators' technological, pedagogical, and content knowledge manifest itself in particular ways?
Music educators need to understand the "why" of teaching music, which should, however, be the premise of the "what", "who", and "how" of teaching music.The findings were generated through focus group discussions and one-on-one interviews guided by different themes, the rationale for teaching practices, challenges, perspectives on various teaching practices, philosophies, and professional development.Further, questions pertaining to the philosophical question of the study were asked.Educators expressed their views guided by their beliefs.Educators' technological, pedagogical, and content knowledge was affected by reasons such as teaching practices and values that music educators believe to be the most essential to learners.In addition, challenges proved to be the primary impediment to their practice.Some additional factors were different perspectives and philosophies of how various styles of music should be taught and music educators' professional development, which are discussed below.
The reason why music educators applied different teaching practices stemmed from their musical backgrounds and experiences.All 58 respondents had been trained in WAM, Jazz, or IAM, which became the deciding factor in applying a particular practice.Moreover, experience underpinned a majority of participants' practice.They taught music the way they were taught while still at school.

Challenges
Challenges ranging from the curriculum, the programme's structure, infrastructure, and resources were significant influences on why music educators' technological, pedagogical, and content knowledge manifested in particular ways.Music educators were not trained for the music curriculum.Consequently, several problems stemmed from the improper implementation of the curriculum and the programme.Indigenous African Music, as recontextualised in the classroom, is aligned with Western concepts of teaching music.The recontextualisation of IAM demands an ideological shift from the music curriculum to be effectively implemented.Music educators, especially those trained in Western Arts Music, did not have an in-depth knowledge of African cultural values, and struggled to enact the IAM stream in the classroom.The structure of the programme had become a significant influence on why music educators taught music in particular ways.There are no clear guidelines for the IAM, resulting in educators grappling with implementing the music curriculum.Most participants considered the programme as being "flawed".This suggests an intervention to restructure, reformulate, form new theories, redesign, and reconceptualise the teaching practices.
Infrastructure and resources also played a significant role in shaping how Music Magnet School educators taught music.The inadequacy of Indigenous African instruments and theories propelled music educators to teach in particular ways.For example, teaching IAM grounded on Western principles.The practice of following the Western paradigm in setting the model for learning IAM is detrimental to the stream (Odendaal, 2020).Some educators taught IAM with Western instruments.However, the recontextualisation of IAM does not give educators the latitude to conduct African music lessons using Western pedagogies.Correspondingly, different perspectives by educators on various teaching practices became a significant influence in affecting the implementation of the curriculum.

Perspectives
Music educators' beliefs, perspectives, ideologies, and attitudes play a significant role in understanding the educational process of teaching and learning.Though all these differ and substantially influence different teaching practices, the content should be delivered effectively.Effective implementation of the music curriculum is determined by professional, societal, or personal influence and a strong correlation between the propositions.Educators' backgrounds and beliefs should display specific relations and professional and societal collaboration to create a positive teaching and learning atmosphere.Most educators advocated different teaching practices as a way of fostering harmony among educators.

Professional development
The ever-changing world of music education requires relevancy.Drummond (2015) submits that music educators need to be supported with continuous professional development for a successful music curriculum implementation.Therefore, professional development should focus on sound knowledge of content, pedagogical practices, and technological knowledge of how these propositions relate and interact with each other.
The discussion of the findings within the framework of TPACK revealed a lack of training for music educators in technological, pedagogical, and content knowledge in implementing a music curriculum.This study argues for an amalgamation of the professional and the societal proposition, where good values and strengths of each proposition are identified and integrated to yield a new personal identity.The integration of the two propositions yields a personal proposition.Learners become well-rounded in music playing, possessing both local and international knowledge.This requires that educators need to be flexible and should, acquire new ways of teaching learners, and be mindful of contextual factors.
Teaching music in the 21 st century requires that both learners and educators become critical thinkers, and educators should encourage creativity.Learners should become active participants who can collaborate with different learners in learning different styles of music.Self-growth and selfknowledge are encouraged.Learners become innovators who can deconstruct to reconstruct knowledge at their disposal.
The integration of different propositions is supported by Gordon (2020) who argues that there should be an identification of common elements from all other music streams offered at school.The focus should not be on identifying differences but on what is shared.However, for this to be realised, an educator of a certain calibre should be developed with necessary training.Music educators should be able to integrate various kinds of knowledge into their practice, such as professional and societal knowledge.Table 1 displays a strong degree of overlap between the different datasets.As pointed out earlier in the methodology section, convergent parallel design for data generation, analysis, interpretation, and discussion guides this study.The design was chosen to gather and generate data using different instruments that complement each other from the same topic to understand the research problems better.
The discussions that follow look at the propositions for effective implementation and enactment of the music curriculum, and recommend cognizance of relevant music values, incorporating technology in teaching and learning, pragmatic music curriculum, and reconstruction of relevant philosophies and theories as fundamental to effective teaching and learning in the 21 st century.The four propositions could assist in deepening educators' understanding of different types of knowledge for knowledge building.

Proposition 1 (Cognizance of relevant music values)
The Curriculum Assessment Policy Statements (CAPS) depict that learners should be equipped with skills and values that promote local and international knowledge (DoE, 2011).A deeper awareness of music educators' general values should be a point of entry prior to teaching music to learners.Music education is built upon values embedded in each society to meet educational objectives (Muldma & Kiilu, 2012).The acquisition of relevant skills, knowledge, and musical values is dependent on how music educators understand the importance of imparting these to learners.Musical values such as creativity, musical literacy, critical thinking, social values (cultural identity), and moral values (respect and working together with others) should be considered when teaching music.A notable crucial point is that music education should generally be understood for the meanings and values it offers.Carruthers (2008) believes that any music programme should mirror the pedagogical values, goals, and relevant teaching practices for effective teaching and learning.
Educators' roles as mediators of values should not only be influenced by music educators' musical background, experience, and teaching practices but also focus on fulfilling learners' needs.The collaboration of professional and societal values is highly recommended.Khoza (2021) adds that educators should focus on producing learners whose identity will be informed by a balance of educational values formed by a pragmatic approach to address professional, societal, and personal needs.Music educators, formally or informally trained, should reflect on their experiences to provide proper solutions to the problematic issues caused by the tensions between the professional and the social constructs.Aróstegui and Kyakuwa (2020) accentuate that one contributing factor to the tensions between the structured and the unstructured implementation and enactment of the music curriculum is derived from how music scholars define the goals and values of music education.These tensions are often caused by the problematisation and the implementation of educational policies and different pedagogic practices.Instead, these should provide an opportunity for music educators to reconstruct holistic educational values.A practising music educator's role needs to be revised in line with the application and dissemination of knowledge, especially in terms of what may work in the classroom.The ultimate goal is to synergise knowledge domains by educators (technological, content, and pedagogical).

Proposition II (Incorporating technology in teaching and learning)
This study signifies technological knowledge as the application of technology in music and as a construct influenced by informal teaching to address societal needs.Bauer (2013) refers to technological knowledge as a comprehension of the fundamental technologies used in teaching and learning.Most learners obtain or acquire this type of knowledge on their own.Societal knowledge is based on the premise that learners learn to play music informally and follow their musical interests.Narita and Green (2015), staunch advocates of informal pedagogies, suggest that informal practice encourages learners to be creative and select their repertoire.Informal learning is considered to have a high impact in preparing learners for societal considerations-most learners studying music enter with prior knowledge of informal music.They learn and are trained formally how to sight-read music at school.Societal/ technological/informal/horizontal knowledge follows a curriculum driven by social reasoning when defined as a plan of teaching and learning (Makumane & Khoza, 2020).Thus, a fully integrated music curriculum that includes technology as a fundamental part of teaching and learning should be followed.Researchers like Macrides and Angeli (2018), Bauer andDammers (2016), andBiasutti et al. (2021) confirmed the gap in the use of technological tools.Learners should be encouraged to learn how to play music by actively listening, performing, and composing their songs using the current technological tools, such as available software (Sibelius, Cue base, Pro Tools, etc.), digital tools (WhatsApp, YouTube, and Zoom), and using the internet to download accompaniment software.Likewise, educators need to know about technology and should apply it to enhance their teaching-learning.The increased demand for educators to use technology in their teaching and learning suggests the incorporation of technology.The findings revealed that music educators made minimal use of technology in the classroom due to inadequate resources and limited training in applying technology.

Proposition III (Pragmatic music curriculum)
Music Magnet School educators are encouraged to apply a collaborative approach aligned with different knowledge domains for effective teaching and learning.The underlying tensions between other practices require integration and progressive knowledge-building.Professional and societal knowledge are applied as separate domains causing a rift between conceptual and practical propositions.Carver (2020) argues for a systematic approach that integrates both the conceptual and practical propositions for knowledge building, while McPhail (2018) attests to the conflict between professional and societal knowledge transmission in the classroom.However, the integration of the two is required to give birth to pragmatic knowledge.Khoza and Biyela (2020) assert that personal/pragmatic knowledge produces pedagogical knowledge building needs.In other words, a pragmatic curriculum is driven by an educator's personal proposition.Makumane and Khoza (2020) argue for the importance of applying a pragmatic curriculum as a driving force in empowering educators' versatility and meeting the requirements of the 21 st century.Pedagogical knowledge requires in-depth knowledge of different teaching practices, learning theories, and philosophies to successfully apply them in the classroom.Pedagogical knowledge provides a framework that includes an amalgam of professional (content) and societal (technological) knowledge.The reconceptualisation of knowledge domains, as depicted by the pedagogical framework, should reflect a pragmatic approach.
Personal/pedagogical/pragmatic/diagonal knowledge addresses the question of "who" is teaching.This study argues for a versatile music educator guided by professional and societal propositions to efficaciously implement/enact the pragmatic curriculum pertinent to 21 st -century teaching and learning.Most Music Magnet School educators, as previously mentioned, were either guided by professional or societal knowledge.Very few educators were guided by the personal proposition.A provision of relevant 21 st pedagogies with the use of appropriate resources to provide an ongoing construction of appropriate experiences for the learner in creating balance for all learning experiences offered to learners at school and in the community is envisaged.Knowing or understanding the "who" question of teaching and learning leads to the philosophical question of the "why" of teaching and learning.
2The pragmatic approach assists educators in focusing on the actual learning processes.According to Väkevä and Westerlund (2007), the pragmatic curriculum helps educators' learning processes by directing them to understand relationships between the means and ends subjected to situational needs.A pragmatist focuses on constructing a flexible and integrated curriculum that will assist pupils' development and the changing society they live in concerning the needs and demands required.A pragmatic curriculum suggests new theories that may assist in developing new methods of teaching music.Barba (2017) asserts that music values should underpin the philosophy of music, the value of teaching and learning, and utilisation of those values in teaching and learning music.The reconstruction of philosophies should address the critical aspects of how learners learn how to play orally and at sight.Equally important, the reconstructed philosophies should emphasise creativeness, innovation, and collaboration with learners.The integration of professional and societal propositions calls for a reconstruction of philosophies.This study suggests that the issue of complexities due to varying practices affected by different cultures be addressed as a matter of urgency.Otherwise, the music art form risks being irrelevant in teaching music in the 21 st century.

Proposition 1V (Reconstruction of relevant philosophies)
The reconstruction of philosophies speaking to the identities should reflect the constellations of the three identities as modelled by the TPACK framework.A construction of relevant theories and philosophies speaking to the synthesis action of the three identities should act as a catalyst in harmonising the tensions between professional and societal constructs in teaching and learning music.

Concluding remarks
In conclusion, the findings suggest that those involved in teaching practices of different genres had not mastered the concept of implementation and enactment of the music curriculum.Learners were not given the freedom to learn music through playing as they would in their communities.Instead, they were taught how to play songs following Western concepts.The practice has negative implications, further encouraging the marginalisation of other streams and creating unnecessary tensions among educators.
Additionally, the findings of this study indicated that there was no alignment of combined knowledge as depicted by the TPACK framework.The music practices constructed formally and informally did not speak to each other.The offered curriculum was content-driven.Different knowledge domains should speak to each other in an integrated manner.The pragmatic curriculum should lead to knowledge-building that embraces diversity, creativity, and collaboration.Considering the above, this suggests that educators should personally reflect to understand the advantages of professional space and social space, which should produce a new identity of technological, pedagogical, and content knowledge of implementing the music curriculum in the Music Magnet School Programme.Dewey (1933) defines reflections as a process of reviewing one's beliefs guided by different forms of knowledge to make new life decisions.Mpungose (2017) believes that produced reflections by educators influence a pragmatic approach.Pedagogies/ educator practices and theories should be renewed concerning the changing environment within which schools operate.No teaching practice should be made inferior, as they all serve various purposes.The tension between these two processes requires a semi-structured implementation, known as a pragmatic curriculum, which could help educators combine the strengths of both performance-and competence-based curriculum (Khoza, 2019;Mpungose, 2020).
Moreover, the study addressed three effective teaching and learning questions: the "what" addressing professional knowledge; the "how", addressing societal knowledge, leading to the "who", addressing personal knowledge and "why", and the philosophical question of teaching and learning.The study also discovered that knowledge transformation is unevenly distributed across the streams offered.Thus, the study argues and proposes a new knowledge framework to decipher and counterbalance the tensions between professional and societal-driven knowledge.How would you rate the following at your school?
Educators' understanding of curriculum goals

Very high 28
High 17 Medium 9 Low 2

Very low 2
Educators' success in implementing the music curriculum

Very high 6
High 16 Medium 28 How would you rate the following at your school?

Very low 6
Indicate the extent to which you agree or disagree with the following statements.
Music Magnet School educators have adequate instructional resources for teaching music.

Agree 22
Disagree 36 The Music Magnet School Programme has adequate technological resources to teach music.

Agree 8
Disagree 50 Music Magnet School educators have been adequately trained to apply technological, pedagogical and content knowledge in teaching music.

Agree 20
Disagree 38 Music Magnet School educators have adequate support for applying technological knowledge in their teaching.

Agree 7
Disagree 51 In the past two years, have you participated in any professional development in the following areas?

Music content
Yes 39 No 19

Music Pedagogy
Yes 16 No 42

Information and Communication Technology (ICT)
Yes 12 No 46

Which statement/s best suit/s your view regarding Indigenous African Music (IAM)?
Music practitioners from the community should teach IAM.

(Continued)
First lesson: The learner used his saxophone; the school did not have that kind of an instrument.

Second lesson:
The learner came with his instrument, the saxophone, and his teacher played the clarinet, though.

Technological tools
• Application of technological tools to enhance music teaching.
• Lesson efficacy using digital tools.
• Does the educator use a variety of technological tools to enhance music teaching?
First lesson: The lesson was conducted with backing tracks.There was a cell phone, speaker, and keyboard.The piano chords, bassline and rhythm section were all prerecorded and played via the cell phone connected to the speaker.

Second lesson:
The same technological tools that were used in the first lesson were applied for the second lesson.The lesson was highly effective as the learner felt he was playing with the full band using backing tracks.

Aims and objectives
• Are the goals clear?
First lesson: The learner wanted to pursue music as a subject, and he was preparing for auditions, also to be at a certain level with sight-reading and improvising.Second lesson: The objective was to have the learner play the melody fluently and follow all the instructions in the song, and be able to improvise as the song that he played was a jazz song.He also wanted to pursue a career in Jazz at the university.

Challenges
• What are the main challenges the music educator faces that hinder the effectiveness of the music lesson?The second lesson was conducted in the same venue, which was spacious and conducive for the lesson.No challenges were observed.The learner and the educator had all the equipment they needed for effective teaching and learning.
Observations and analysis: Both lessons started on time with a duration of sixty minutes each.However, they overlapped for both days.The lesson on Tuesday, 11 th May started at 11h00, and started at 10h00 on Thursday, 13 th May 2021.The classroom was big enough to accommodate an ensemble class.Before each lesson, the learner did some warm-up exercises with their instrument.The learner was at the advanced stage out of the three stages (beginner, intermediate, and advanced).The educator is classically trained, and you could see from his approach that even though they played a jazz song that required a learner's creativeness and spontaneity, the learners still sight-read his solos as you would in a classical piece.
The learner was in his final year and was prepared for higher learning, as indicated in Table 7.2.There was a beautiful interaction between the learner and the educator.The learner understood the music language very well.The use of technological tools enhanced the lesson.The backing tracks gave a full sound of an ensemble class, giving the learner a sense of rhythm.The content was both professionally and socially driven.The professional and societal propositions were also evident in the teaching and learning style followed.
The findings suggest that the lesson observed followed a one-on-one teaching model.The educator becomes a significant person, playing a crucial role in the learner's music learning and development.Carey and Grant (2014) list several disadvantages of following the one-on-one approach, such as passive learning, always depending on the teacher and negatively impacting learners' self-confidence.Also, the findings indicated a high use of technological tools to enhance • Are the learners sight-reading or memorising the song?
• Is the educator modelling, using verbal explanation or both?
First lesson: The learners were memorising the melody and the lyrics of the song.Verbal and demonstration by the educator were applied to explain the concepts of the song.They followed the instructions that the educator gave.
Second lesson: Learners had their copies and were memorising the lyrics from the copies provided.

The teaching style and technique
• Is it the whole class, group, or an individual class lesson?
• Is the lesson conducted through hearing or sight-reading?
• Is the lesson teacher-centred or learner-centred ?
• Explanation and demonstration of musical concepts.
First lesson: The vocal class consisted of learners from different Grades, 8, 9, and 10.The song was taught through hearing.There were no music scores, even though the lyrics were written down.The educator combined the teacher and the learner-centred approach.
Second lesson: Each learner had a copy of the lyrics, and the lesson was more on pronunciation, phrasing and singing the correct notes Third lesson: A new version was introduced with a fresh approach, and the learners enjoyed the latest version by Angelique Kidjo.

Resources
• Adequacy of teaching resources.
• Do learners use their resources?
First lesson: There was a piano in the classroom, and because it was a vocal class and did not need many instruments.

Second lesson:
The second lesson took the shape of the first lesson.

Third lesson
The third lesson was even more enjoyable.There was a piano accompaniment, a CD player, and a cell phone used to download the vocal exercises from YouTube.

Technological tools
• Application of technological tools to enhance music teaching.
• Lesson efficacy using digital tools.
• Does the educator use a variety of technological tools to enhance music teaching?
First lesson: There were not many technological tools applied in this lesson.Second lesson: It was the same for the second lesson.

Third lesson
The pianist played with the vocal ensemble, and the song was taking shape as each learner knew and understood their parts.There was a time where the live playing was synchronised with what they were playing from YouTube.The interaction was higher than in the previous lessons.The group had made some improvements.

Aims and objectives
• Are the goals clear?
First lesson: For all the lessons on different days, the educator explained the lesson outcomes.All lessons were typical vocal lessons, where learners were taught songs and how to sing correctly. (Continued) teaching and learning.The educator did not need the entire band to play the jazz standard but used available technological tools.Though the lesson followed the professional teaching and learning approach, the learner could explore and experiment through improvisation.Another critical aspect of the lesson was how a classically trained educator attempted moving away from the professionally to the societally oriented approach of teaching and learning, combining both methods (the structured and the unstructured), which yielded positive results.

Further observations and analysis:
The first vocal class was on Tuesday, 25 th May, which started at 12h00, after the theory class was conducted at 11h00.All other vocal lessons began at 12h00.Learners were not as punctual on Wednesday and Thursday, and the class consisted of learners coming from different grades, with one boy learner.It consisted of six learners.The first lesson was not as intense as the second lesson.Learners were relaxed, and they had a better understanding of the lesson.The lesson was a continuation of a song that was started a week prior to the observation.The first two lessons were conducted in the same venue, and the third was in a different venue with more equipment.Learners interacted with the educator more in their third lesson.They sang with confidence and were more involved and creative because they were not reminded about the song dynamics in the song.The third lesson seemed to be even more enjoyable.Technological tools, such as digital tools (YouTube), and hardware such as cell phones and the keyboard, were used.There was also a piano accompanist.Learners seemed to enjoy more lessons conducted with the use of technology.The observations suggest that the lesson was driven by societal considerations evidenced by the content, teaching, and learning style applied.
The findings firstly imply that based on the needs of the school and learner needs, the educator assumed the role of vocal teacher and played it exceptionally well.Secondly, the pedagogical content knowledge of the lessons followed the modelling and verbal approach.Stevanovic and Kuusisto (2019) believe that the modelling approach is more effective than the verbal approach in conveying musical knowledge and skill.Also, the findings entail the use of technological tools which enhanced the lessons conducted.Based on the observation, learners enjoyed the lessons where technology was used.

Task and Activity Comments
1. Content • Is the content Jazz, IAM, WAM or integration of all music styles?
• Subject knowledge: Does the educator have adequate knowledge of the subject?
First lesson: The lesson was a combination of Jazz and African music.The educator was more of a facilitator as learners were allowed to explore and be creative on what they were playing.The song was their composition.
Second lesson: The jazz lesson was conducted with one guitar learner.
The educator who taught the learner had vast knowledge of the subject and explained the music concept more engagingly.

Learning styles and activity
• Are the learners sight-reading or memorising the song?
• Is the educator modelling, using verbal explanation or both?
First lesson: The learners played their composition, playing chords, while the other learner improvised and played the melody.
Second lesson: The learner was sight-reading guitar chords, and the emphasis was on guitar changes.The educator demonstrated and used verbal explanations to augment what he implied.

The teaching style and technique
• Is it the whole class, group, or an individual class lesson?
• Is the lesson conducted through hearing or sight-reading?
• Is the lesson teacher-centred or learner-centred ?
• Explanation and demonstration of musical concepts.
First lesson: The lesson consisted of two guitar learners who played their composition.A learner-centred approach was followed, and the lesson was more complimentary, and learners creatively played the song.At the same time, the educator guided them there and there, especially with what they could add to their music.

Second lesson:
The second class was with an individual learner, conducted through sight-reading.The lesson followed the teacher-centred approach.

Resources
• Adequacy of teaching resources.
• Do learners use their resources?
First lesson: Both learners had guitars; however, the instruments were the school's property.

Second lesson:
The learner used the equipment of the school that he left behind at the end of the lesson.

Technological tools
• Application of technological tools to enhance music teaching.
• Lesson efficacy using digital tools.
• Does the educator use a variety of technological tools to enhance music teaching?
First lesson: Unfortunately, there were no technological tools applied in the lesson.

Second lesson:
The lesson did not make use of the technological tools.

Aims and objectives
• Are the goals clear?
First lesson: The first lesson allowed learners to compose and play the songs, encouraging creativity.

Second lesson:
The main goal was to teach the learner chord changes.The learner did not play any melody but focused on the chords. (Continued) Further observations and analysis: Both lessons took place at various venues.The first one was a group lesson, while the second one was an individual lesson.Both learners in the first lesson took turns in accompaniment for each other.Even though the chords were the same, the song feel was differently played, depending on who was playing the chords.The learner played the chord in a 4/4 feel while the one played it in a 6/4 feel.The other learner who attended the second lesson was taught to play the jazz chords and moved from one chord to another.The educator was trained in Jazz and Indigenous African Music.There was no evidence of the use of technological resources with his learners.The first lesson was more learner-centred, while the second one was teacher-centred.In the second lesson, he demonstrated and played with the learner.However, in the first lesson, he only explained the concepts and why learners played in assorted styles, even though they both played the same song.The content of the lesson was societally driven.Learners were given room to compose and creatively improvise in their piece of music.The goals were also socially driven.
The findings suggest that the societal implications of the lesson plan had a notable influence on how the educator taught both learners.In the first lesson, both learners were actively involved, and the educator provided the needed guidance.The educator assumed the role of a facilitator and a collaborator.The implications of technological tools not being used in both lessons have different connotations.The first one, the school or the educator, did not have access.Secondly, the educator does not have adequate knowledge in applying them, or both lessons did not require the use of technological tools.
Further observations and analysis: Lessons took place from different venues with different learners.The first learner was a bass learner, while the second was a clarinet learner, as indicated  • Is the content Jazz, IAM, WAM or integration of all music styles?
• Subject knowledge: Does the educator have adequate knowledge of the subject?
First lesson: The first lesson was conducted with a bass guitar learner, playing an African song with a feel from Zimbabwe.The song is a composition by the educator, "Good friend".The learner was more involved and freer in his playing without interruptions from the educator.
Second lesson: The second lesson was conducted with a clarinet learner from a different school (Feeder School) playing a composition by the educator, "The song for you".
The educator displayed an in-depth knowledge of the genre and taught and played with much confidence.

Learning styles and activity
• Are the learners sight-reading or memorising the song?
• Is the educator modelling, using verbal explanation or both?
First lesson: The learner memorised the song and was guided by the educator, who occasionally demonstrated what was required and how it was to be done by also playing with the learner.

Second lesson:
The clarinet learner played the song from memory and was accompanied by the educator, who played the lead guitar.

The teaching style and technique
• Is it the whole class, group, or an individual class lesson?
• Is the lesson conducted through hearing or sight-reading?
• Is the lesson teacher-centred or learner-centred ?
• Explanation and demonstration of musical concepts.
First lesson: The lesson was learner-centred with an individual, and the lesson was conducted through hearing.The learner was given enough room to make mistakes and correct himself.The educator did not stop to fix the errors.

Second lesson:
The second lesson took the shape of the first lesson.However, it was with a different learner, playing another song in another school.

Resources
Adequacy of teaching resources.
• Do learners use their resources?
First lesson: The learner used the school's bass guitar as he did not have his instrument.

Second lesson:
The learner played his instrument.

Technological tools
• Application of technological tools to enhance music teaching.
• Lesson efficacy using digital tools.
• Does the educator use a variety of technological tools to enhance music teaching?
First lesson: The educator did not use any of the technological tools for the lesson.Second lesson: There were no technological tools used. (Continued) in Table 5.18.3.The learner-centred approach was applied to classes.The educator was trained in Jazz and Indigenous African Music and played primarily African songs.The educator taught both learners the original compositions.No backing tracks were used; instead, the educator accompanied both learners with his guitar, playing chord changes.Both lessons started on time with a duration of 60 minutes each.When asked about the titles of the songs that learners played, the educator indicated that he wanted to change the instrument that the learner played (clarinet) to a saxophone with a more economic market.However, he was struggling to get donations or to have the school agree to buy the instrument.Both learners interacted very well with their teacher and displayed confidence in their playing.Without a doubt, the lessons were driven by societal considerations.The educator explored the learners' abilities by allowing them to be free in playing and improvisation.The aim was societally driven, to prepare the learners to be session players in the community.
Both music lessons were predominantly learner-centred, allowing learners to learn from their mistakes with fewer explanations and demonstrations.The findings also suggest that the pedagogical approach followed was that advocated by the constructivists, Piaget (1985) and Vygotsky (1978), where learners are allowed to learn through experimentation, exploration, and active learning (Carey & Grant, 2014).The educator did not use technological tools and followed an old approach of practically accompanying his learners with a live instrument, in this case, his guitar, for both lessons.
Further observations and analysis: The class was an ensemble group lesson.There were two vocalists from the vocal ensemble group, one boy and one girl learner.The class also consisted of one bass guitarist, one guitarist, and a drummer.There was no piano player, and the • Are the goals clear?
First lesson: The learner was prepared to be a session player who will give back to the community through playing music.The goal was outcome-based: to train a learner who can play by ear and compose his songs.Second lesson: The learner was prepared to be a session player and pursue music as a career.The learner took a solo after playing the melody of the song.He executed that with confidence, supported by his educator, who accompanied him with guitar chords.

Challenges
• What are the main challenges the music educator faces that hinder the effectiveness of the music lesson?
First lesson: No apparent challenges when it comes to resources and infrastructure.
Second lesson: The educator struggled to get a saxophone as he wanted to change the learner from playing the clarinet to a soprano saxophone which the school did not have.
educator played the piano.The ensemble group played the "Malaika" song as indicated in Table 5.15.4,done by the vocal ensemble group with backing and live instruments this time around.The ensemble group was taken by a different teacher who was trained in classical music.All learners were beginners.The notes that the bass player learner played were written down for him as he was not yet at the stage to play by ear.The lesson took more than 60 minutes, and the learners were given a break during the lesson.The educator demonstrated for every learner all the lines they were to play, using the piano.It was the first time that the learners played a song that was not written down.However, the melody and the bass lines were transcribed and written down to speed up the process.Most learners were more fluent in sight-reading music than playing by ear.Professional and societal propositions influenced the lesson.Even though it was supposed to be a lesson where learners played by ear, it followed the professional approach of learning a song as some learners had not fully developed the skill of playing music by ear.
The observation findings imply that the educator competently moved between following the lesson's professional and societal approach.Moreover, learners were more trained in sight-reading music than playing by ear; hence the educator frequently demonstrated and played the melody lines using the piano.The findings also suggest that the educator was aware of training learners to be proficient in sight-reading and playing by ear.
Varpio et al. (2020)refer to the theoretical framework as concepts and premises logically developed from one or more theories that support the study's framework.An identified theory serves as a theoretical framework shaping the constructs of interest and speaking to why the chosen context is a legitimate area of study.The framework becomes a frame of reference to existing knowledge in the field.Technological Pedagogical and Content Knowledge (TPACK) is applied for this study to establish the conceptual framework on propositions of educator knowledge domains: Technology, Pedagogy, and Content Knowledge.