Thesis by Sheldon Rocha Leal
Unpublished, 2021
Creativity and creative management is an art unto itself and something that needs to be carefully... more Creativity and creative management is an art unto itself and something that needs to be carefully considered, managed and executed to motivate creatives to generate the best possible creative output. In my years of teaching, I learnt that in order for the pupils to excel I needed to let go and establish an environment from which multi-lateral learning could take place. This is a challenge considering that at High-School level certain national curricula needs and deliverables need to be fulfilled. In this paper, which was submitted as part of my post-graduate studies at Rhodes University, I explore some of the strategies employed in my teaching in to create an environment from which not only the pupils can grow, but from which I can also learn, utilising a permissive learning philosophy.
University of Pretoria, 2012
In this study I set out to determine how to make music a popular subject option at high schools i... more In this study I set out to determine how to make music a popular subject option at high schools in South Africa, specifically the FET (Futher Education and Training) phase of education, i.e. the last three years of a child's secondary schooling. After determining that many students who would ordinarily choose music as a subject in the FET phase of their schooling, do not to take the subject, I wanted to figure out what motivated them and how the situation could be remedied to make music a more popular subject option in high school. I set out to interview people from different vantage points of this phenomenon (high school music): music teachers, academics, music students and their parents, music students who opted not to take music as a subject and their parents. With the knowledge accumulated from all the respondents, the pilot study completed and the literature review conducted I was able to offer recommendations as to how the curriculum could be altered to make music a more popular subject option in the FET phase of a child's high school career.
University of the Free State, 2018
This study has endeavoured to establish how the creation of a music industry (MI) related baccala... more This study has endeavoured to establish how the creation of a music industry (MI) related baccalaureate could transform higher music education (HME) in South Africa (SA) to better prepare graduates for jobs in the MI. The project set out to meet its objectives through a six- phase process, as follows:
(I) In the first phase, a background study was conducted to determine the prevalence of MI qualifications. The size of the creative industry and its employment trends, opportunities and capacity were determined. Finally, trends in creative education and education, in general, were established.
(II) In the second phase, the curriculum was defined, various curriculum development and design methodologies were scrutinised, prominent educational reforms were interrogated, the South African educational structures were reviewed and higher music educational pathways, structures and trends were investigated.
(III) In the third phase, different music industry degrees, hosted at universities internationally, were inspected and reviewed to establish the content, assessment, outcomes, aims, rules of engagement, module distribution, articulation and generally to determine how these qualifications are constructed.
(IV) In the fourth phase, a needs assessment was conducted, in which I assembled and interviewed a group of 10 leading South African music industry stakeholders. In the interview process, I undertook to determine if a need exists for a music industry degree for the South African context, the needs of the South African music industry and the transformative value of such a qualification for students, the business and music education (ME).
(V) Following from the findings of phases I-IV, I designed a curriculum framework based on research conducted and suggestions offered by the stakeholder group.
(VI) In the sixth phase, an additional group of South African music industry insiders was interviewed to gain further comments on the form and structure of the framework, and to establish if, in their expert opinions, the curriculum designed would have a transformative effect on ME, graduates and the music industry in South Africa. Finally, based on the research conducted and stakeholder groups consulted, conclusions and recommendations were made.
The designed framework was created to inspire discussion regarding the introduction of MI education in SA and may result in the creation of an MI related qualification.
Various elements of the framework aimed specifically to encourage transformation, open up HME to a broader audience and better prepare graduates for non-performing careers in music. These may be summarised as follows:
(a) As the qualification is not strictly a music qualification, the lowering of the barrier to entry is justifiable, as students do not require prior access to a formal ME which will make the programme more accessible than typical degrees in music, to a more significant and diverse number of students, ensuring the future sustainability of music departments.
(b) The practical application of work taught in class, through interventions such as internships, will give students access to interactions with music students and the music profession, allowing them to gain a greater understanding of the interdisciplinary nature of the industry. This practical application will instil in them the ability to be adaptable and flexible in this continually evolving industry and will improve their chances of finding gainful employment which will also result in a dynamic and flexible curriculum that will remain in tune with current developments, because of its consistent interaction with the MI.
(c) By having access to entrepreneurial and humanities training, students will be able to better lead the industry, by identifying gaps in the market, establishing structures to deal with these gaps, generating more significant employment opportunities and having access to a more profound depth of knowledge, allowing them to be more creative.
(d) Finally, students will have access to music creation modules, giving them a better understanding of the music creation process, facilitating communication between the industry and creatives, allowing for the creation of more internationally competitive output and individuals who are more invested in promoting musicians’ creative output.
Based on the above and through a process of consultation with the two sample groups, it was concluded that the introduction of an MI related baccalaureate at SA universities might have a transformative effect on HME, the MI and graduates seeking employment.
University of Pretoria , 2015
This study attempted to determine how tertiary music education programmes are assisting graduates... more This study attempted to determine how tertiary music education programmes are assisting graduates in their quest to enter the plethora of music careers available within the broad music industry.
Initial research was conducted into the structure of the music industry and the viability of a career within it. Published research was consulted to determine the tastes of music consumers both locally and internationally. This was done to ascertain what is currently generating the most money through sales of recordings.
Various Government policy documents were interrogated to determine their expectations of higher education and of music education within higher education. International studies were also inspected to determine international tertiary music education trends.
A sample group, consisting of various members within the broad music industry – ranging from performers to executives to employers and more – was established to determine, through structured interviews, what the music industry needs of graduates articulating into the music industry are.
The information gathered was then used to create a set of criteria against which all 4- year, 480-credit BMus degrees currently offered in South Africa were assessed. The results of this assessment were used to determine how well BMus qualifications are preparing graduates for the modern music industry.
Teaching Documents by Sheldon Rocha Leal
Medium, 2023
Technology can be successfully utilised in a music classroom to enhance the music teaching experi... more Technology can be successfully utilised in a music classroom to enhance the music teaching experience and to allow pupils to explore different aspects of their creativity. In this article, I explored different platforms and technologies I used, at a time in our history when we were limited to the way in which we could interact with our students (COVID-19), in the hopes that this will help others on their own journeys in teaching.
Medium, 2024
Reflecting on the function of the music teacher and how they interact differently with music as o... more Reflecting on the function of the music teacher and how they interact differently with music as opposed to a creator or musician. The art of teaching is a talent in itself and shouldn't be seen as "less than" the art of performing and creating music. It is another type of creation, which involves the art of nurturing new talent, and adding to the "Talent Pipeline".
Medium, 2024
As a music educator parents always ask about the value of a Music Education. In this series of ar... more As a music educator parents always ask about the value of a Music Education. In this series of articles, of which this is the second, I explore the value and worth of a Music Education. Outside of the obvious musical benefits of being formally musically trained, an exploration is undertaken of all the additional cognitive and developmental benefits of this type of academic endeavour.
Medium, 2017
I often write opinion pieces on a platform called Medium. This is an article I published on the s... more I often write opinion pieces on a platform called Medium. This is an article I published on the site documenting postmortem court cases which revealed the embezzlement of money from Elvis Presley’s estate, while he was alive. This blatant misappropriation of his money, resulted in the King of Rock ‘n Roll passing away with a fraction of the money he should of. This was part of research I conducted, but did not use in my doctoral thesis. I publish this article to inform up-and-coming musicians to be more vigilant about the business aspects of their careers. Creativity is not an excuse for ignorance, especially when it comes to monetary matters.
Papers by Sheldon Rocha Leal
SAMus, 2020
As music educators it is our predominant objective to nurture not only the future talent of the m... more As music educators it is our predominant objective to nurture not only the future talent of the music industry but also the infrastructure that will support that talent. This may be achieved by instilling, in the general population, a passion for music and an understanding of the music creation process, resulting in audiences that are more educated and professionals who will be able to deal with musicians with greater empathy. Based on earlier research, I determined that music degrees in South Africa are not adequately preparing graduates for all the eventualities they will encounter once they articulate into careers in music and there are presently no degrees offered in the country that cater to the training of future music business leaders. The value of higher education coupled with talks about the decolonisation of education have made it essential that higher music programmes are re-evaluated to ascertain their relevance in the new knowledge economy and the fourth industrial revolution. Whilst a place for higher music qualifications, in their current iterations, still exists, there is space for the creation of new programmes that will offer prospective students a greater array of entry points into higher music education. These programmes may assist in increasing participation rates in music departments at South African universities and generating music managers with a greater understanding of music creation and musicians, ultimately supporting transformation in higher music education in the country. In this paper, I will explore some of my research findings and suggestions pertaining to the prospective transformation of higher music education in South Africa.
Conference Presentations by Sheldon Rocha Leal
IEB, 2023
In this paper, presented at the IEB (Independent Examinations Body) annual national conference in... more In this paper, presented at the IEB (Independent Examinations Body) annual national conference in 2023, various points were addressed as to the value of a music education and how things can be altered to make the subject a more attractive proposition for high school pupils and to take advantage of the prevailing labour and employment trends. Music is a valuable subject that if approached from the correct vantage point can alter the trajectory of our society and the overall economy. These are some of the points elucidated in this paper.
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Thesis by Sheldon Rocha Leal
(I) In the first phase, a background study was conducted to determine the prevalence of MI qualifications. The size of the creative industry and its employment trends, opportunities and capacity were determined. Finally, trends in creative education and education, in general, were established.
(II) In the second phase, the curriculum was defined, various curriculum development and design methodologies were scrutinised, prominent educational reforms were interrogated, the South African educational structures were reviewed and higher music educational pathways, structures and trends were investigated.
(III) In the third phase, different music industry degrees, hosted at universities internationally, were inspected and reviewed to establish the content, assessment, outcomes, aims, rules of engagement, module distribution, articulation and generally to determine how these qualifications are constructed.
(IV) In the fourth phase, a needs assessment was conducted, in which I assembled and interviewed a group of 10 leading South African music industry stakeholders. In the interview process, I undertook to determine if a need exists for a music industry degree for the South African context, the needs of the South African music industry and the transformative value of such a qualification for students, the business and music education (ME).
(V) Following from the findings of phases I-IV, I designed a curriculum framework based on research conducted and suggestions offered by the stakeholder group.
(VI) In the sixth phase, an additional group of South African music industry insiders was interviewed to gain further comments on the form and structure of the framework, and to establish if, in their expert opinions, the curriculum designed would have a transformative effect on ME, graduates and the music industry in South Africa. Finally, based on the research conducted and stakeholder groups consulted, conclusions and recommendations were made.
The designed framework was created to inspire discussion regarding the introduction of MI education in SA and may result in the creation of an MI related qualification.
Various elements of the framework aimed specifically to encourage transformation, open up HME to a broader audience and better prepare graduates for non-performing careers in music. These may be summarised as follows:
(a) As the qualification is not strictly a music qualification, the lowering of the barrier to entry is justifiable, as students do not require prior access to a formal ME which will make the programme more accessible than typical degrees in music, to a more significant and diverse number of students, ensuring the future sustainability of music departments.
(b) The practical application of work taught in class, through interventions such as internships, will give students access to interactions with music students and the music profession, allowing them to gain a greater understanding of the interdisciplinary nature of the industry. This practical application will instil in them the ability to be adaptable and flexible in this continually evolving industry and will improve their chances of finding gainful employment which will also result in a dynamic and flexible curriculum that will remain in tune with current developments, because of its consistent interaction with the MI.
(c) By having access to entrepreneurial and humanities training, students will be able to better lead the industry, by identifying gaps in the market, establishing structures to deal with these gaps, generating more significant employment opportunities and having access to a more profound depth of knowledge, allowing them to be more creative.
(d) Finally, students will have access to music creation modules, giving them a better understanding of the music creation process, facilitating communication between the industry and creatives, allowing for the creation of more internationally competitive output and individuals who are more invested in promoting musicians’ creative output.
Based on the above and through a process of consultation with the two sample groups, it was concluded that the introduction of an MI related baccalaureate at SA universities might have a transformative effect on HME, the MI and graduates seeking employment.
Initial research was conducted into the structure of the music industry and the viability of a career within it. Published research was consulted to determine the tastes of music consumers both locally and internationally. This was done to ascertain what is currently generating the most money through sales of recordings.
Various Government policy documents were interrogated to determine their expectations of higher education and of music education within higher education. International studies were also inspected to determine international tertiary music education trends.
A sample group, consisting of various members within the broad music industry – ranging from performers to executives to employers and more – was established to determine, through structured interviews, what the music industry needs of graduates articulating into the music industry are.
The information gathered was then used to create a set of criteria against which all 4- year, 480-credit BMus degrees currently offered in South Africa were assessed. The results of this assessment were used to determine how well BMus qualifications are preparing graduates for the modern music industry.
Teaching Documents by Sheldon Rocha Leal
Papers by Sheldon Rocha Leal
Conference Presentations by Sheldon Rocha Leal
(I) In the first phase, a background study was conducted to determine the prevalence of MI qualifications. The size of the creative industry and its employment trends, opportunities and capacity were determined. Finally, trends in creative education and education, in general, were established.
(II) In the second phase, the curriculum was defined, various curriculum development and design methodologies were scrutinised, prominent educational reforms were interrogated, the South African educational structures were reviewed and higher music educational pathways, structures and trends were investigated.
(III) In the third phase, different music industry degrees, hosted at universities internationally, were inspected and reviewed to establish the content, assessment, outcomes, aims, rules of engagement, module distribution, articulation and generally to determine how these qualifications are constructed.
(IV) In the fourth phase, a needs assessment was conducted, in which I assembled and interviewed a group of 10 leading South African music industry stakeholders. In the interview process, I undertook to determine if a need exists for a music industry degree for the South African context, the needs of the South African music industry and the transformative value of such a qualification for students, the business and music education (ME).
(V) Following from the findings of phases I-IV, I designed a curriculum framework based on research conducted and suggestions offered by the stakeholder group.
(VI) In the sixth phase, an additional group of South African music industry insiders was interviewed to gain further comments on the form and structure of the framework, and to establish if, in their expert opinions, the curriculum designed would have a transformative effect on ME, graduates and the music industry in South Africa. Finally, based on the research conducted and stakeholder groups consulted, conclusions and recommendations were made.
The designed framework was created to inspire discussion regarding the introduction of MI education in SA and may result in the creation of an MI related qualification.
Various elements of the framework aimed specifically to encourage transformation, open up HME to a broader audience and better prepare graduates for non-performing careers in music. These may be summarised as follows:
(a) As the qualification is not strictly a music qualification, the lowering of the barrier to entry is justifiable, as students do not require prior access to a formal ME which will make the programme more accessible than typical degrees in music, to a more significant and diverse number of students, ensuring the future sustainability of music departments.
(b) The practical application of work taught in class, through interventions such as internships, will give students access to interactions with music students and the music profession, allowing them to gain a greater understanding of the interdisciplinary nature of the industry. This practical application will instil in them the ability to be adaptable and flexible in this continually evolving industry and will improve their chances of finding gainful employment which will also result in a dynamic and flexible curriculum that will remain in tune with current developments, because of its consistent interaction with the MI.
(c) By having access to entrepreneurial and humanities training, students will be able to better lead the industry, by identifying gaps in the market, establishing structures to deal with these gaps, generating more significant employment opportunities and having access to a more profound depth of knowledge, allowing them to be more creative.
(d) Finally, students will have access to music creation modules, giving them a better understanding of the music creation process, facilitating communication between the industry and creatives, allowing for the creation of more internationally competitive output and individuals who are more invested in promoting musicians’ creative output.
Based on the above and through a process of consultation with the two sample groups, it was concluded that the introduction of an MI related baccalaureate at SA universities might have a transformative effect on HME, the MI and graduates seeking employment.
Initial research was conducted into the structure of the music industry and the viability of a career within it. Published research was consulted to determine the tastes of music consumers both locally and internationally. This was done to ascertain what is currently generating the most money through sales of recordings.
Various Government policy documents were interrogated to determine their expectations of higher education and of music education within higher education. International studies were also inspected to determine international tertiary music education trends.
A sample group, consisting of various members within the broad music industry – ranging from performers to executives to employers and more – was established to determine, through structured interviews, what the music industry needs of graduates articulating into the music industry are.
The information gathered was then used to create a set of criteria against which all 4- year, 480-credit BMus degrees currently offered in South Africa were assessed. The results of this assessment were used to determine how well BMus qualifications are preparing graduates for the modern music industry.