Musical Arts Syllabus Forms 1 - 4

ZIMBABWE
MINISTRY OF PRIMARY AND SECONDARY EDUCATION
MUSICAL ARTS
SYLLABUS
FORMS 1 - 4
2015 - 2022
Curriculum Development and Technical Services

P.O. Box MP 133
Mount Pleasant
Harare
© All Rights Reserved

2015
Musical Arts Syllabus Forms 1 - 4
ACKNOWLEDGEMENTS
The Ministry of Primary and Secondary Education wishes to acknowledge the following for their valued
contribution in the production of this syllabus:
• The National Musical Arts Syllabus Panel

• Zimbabwe School Examinations Council (ZIMSEC)
• University Representatives
• Music Crossroads Zimbabwe Trust
• Teachers’ Colleges Representatives
• United Nations Educational Scientific and Cultural Organisation (UNESCO)
• United Nations Children’s Fund (UNICEF)
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CONTENTS
ACKNOWLEDGEMENTS....................................................................................................................................i
CONTENTS........................................................................................................................................................ ii
1.0 PREAMBLE...................................................................................................................................................1
2.0 PRESENTATION OF THE SYLLABUS.........................................................................................................2
3.0 AIMS..............................................................................................................................................................2
4.0 SYLLABUS OBJECTIVES...........................................................................................................................2
5.0 SYLLABUS TOPICS.....................................................................................................................................2
6.0 SCOPE AND SEQUENCE CHART..............................................................................................................3
7.0 COMPETENCY MATRIX................................................................................................................................8
7.1: FORM 1.........................................................................................................................................................8
7.2: FORM 2.........................................................................................................................................................18
7.3: FORM 3.........................................................................................................................................................28
7.4: FORM 4.........................................................................................................................................................40
8.0 ASSESSMENT OBJECTIVES.......................................................................................................................50
8.2 ASSESSMENT MODEL.................................................................................................................................51
9.0 SPECIFICATION GRID..................................................................................................................................53
GLOSSARY.........................................................................................................................................................53
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1.0 PREAMBLE 1.4.1 Methodology
• Discovery
1.1 Introduction • Demonstration
• Experimentation
The Musical Arts is a learning area that seeks to • Presentation
develop indigenous musical knowledge and skills of • Discussion
creativity, performance, originality, interpretation and • Field work
entrepreneurship. It involves interpretation, performance • Interviews
and documentation of Zimbabwe Musical Arts Heritage, • Apprenticeship
Sub Saharan Indigenous Musical Arts, Theory and • Educational trips
History of Western Art Music. In addition, it focuses • Aural acuity
on Musical Hybridity, Multimedia Design and Musical • Archiving
entrepreneurship. The syllabus is for Secondary level • Festivals
and intends to help learners in their diversity to take pride • Animation
in their musical arts heritage in pre-colonial, colonial and • Notation
post-colonial eras as well as gain an understanding and • Project
appreciation of other musical arts cultures. It places
musical arts in its socio-economic, political and cultural
context. Learners will understand and appreciate their 1.4.2 Time Allocation
culture and society in relation to other musical arts
cultures in order to develop a positive self, group and In order to cover the content adequately, forms 1- 4
national identity. should be allocated six to eight thirty-five minute lessons
per week.
1.2 Rationale
The syllabus helps learners to develop skills to engage 1.5 Assumptions

with communities through critical thinking, problem
solving, leadership, communication, team building and The syllabus assumes that learners have acquired
technology in safeguarding indigenous musical arts’ fundamental knowledge and skills in:
tangible and intangible heritage by packaging, promoting
and disseminating the works of art for sustainable  indigenous dance styles
development.  indigenous song genres
 playing of musical instruments
1.3 Summary of Content  performance conventions
 musical arts creativity
 appreciating indigenous musical arts
This syllabus covers Zimbabwean and Sub Saharan
 the use of musical technologies
indigenous musical arts, History and theory of Western
 musical enterprise
art music, performance proficiency, musical hybridity,
 music literacy
multimedia design, documentation and interpretation of
indigenous musical arts as well as musical enterprise
skills. 1.6 Cross Cutting Themes
The indigenous Musical Arts learning area will encom-

pass the following cross cutting themes:
1.4 Methodology and Time Allocation
 Heritage studies
In this syllabus, learner- centred methods and the
 Climate change and Environmental issues
principle of individualisation are emphasized in the
 Human Rights and Responsibilities
teaching of Musical Arts in secondary schools. Below are
 Children’s rights and Responsibilities
the suggested methods-:
 Child protection
 Financial literacy
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 Gender ware in musical production

 Sexuality, HIV and AIDS 4.8 create musical artworks projecting national
 Disaster risk management pride, unity and identity through musical arts
 Collaboration 4.9 perform Sub-Saharan indigenous music reper-
 Enterprise skills toires and Western art music genres
 Technology 4.10 apply knowledge of the different musical peri-
 Health education ods of western art music to creative processes
4.11 utilise raw materials and tools to produce mu-
2.0 PRESENTATION OF THE sical artworks
4.12 perform in instrumental, dance and vocal en-
SYLLABUS sembles
4.13 demonstrate an appreciation of musical diver-
The syllabus is presented as a single document catering sity through participation in a wide range of
for Secondary level (forms 1 - 4). ceremonies and festivals
3.0 AIMS 5.0 SYLLABUS TOPICS

The syllabus intends to: 5.1 Sub Saharan indigenous musical arts
5.2 Zimbabwe musical arts heritage
3.1. equip learners with knowledge and skills for inter- 5.3 Zimbabwe liberation war musical arts
preting indigenous musical arts 5.4 Zimbabwean musical arts hybridity
3.2. engage learners in community projects meant to 5.5 Zimbabwean popular musical arts
preserve and promote indigenous musical cultur- 5.6 Documentation of indigenous musical arts
al heritage 5.7 Multimedia designs in musical arts
3.3. develop literacy in and appreciation of Sub-Sa- 5.8 Interpretation of indigenous musical arts
haran indigenous musical arts and Western art 5.9 Theory of western art music
music 5.10 History of western art music
3.4. promote enterprise and improve manipulative 5.11 Performance proficiency
skills through musical technologies 5.12 Musical enterprise skills
3.5. enhance respect (unhu/ubuntu/vumunhu) 5.13 Intellectual property rights for indigenous musi-
3.6. develop innovative, creative and expressive cal arts
skills through musical arts
3.7. enable learners to participate in a wide range of
social and economic musical arts activities
4.0 SYLLABUS OBJECTIVES

By the end of secondary level (forms 1-4) all learners
should be able to:
4.1 place various indigenous musical arts genres

into their cultural contexts
4.2 perform various musical arts styles in their
cultural contexts
4.3 represent different musical arts through indige-
nous terminologies
4.4 read and write music in various forms of ap-
propriate notation systems
4.5 package musical artworks for sustainable
development and nation building
4.6 use multimedia design to promote and pre-
serve musical arts
4.7 manipulate technological hardware and soft-
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6.0 SCOPE AND SEQUENCE CHART
6.1 TOPIC 1: SUB SAHARAN INDIGENOUS MUSICAL ARTS (OVERVIEWS)
FORM 1 FORM 2 FORM 3 FORM 4

Southern Africa Central Africa East Africa West Africa
• History • History • History • History
• Song genres • Song genres • Song genres • Song genres
• Instrumentation • Instrumentation • Instrumentation • Instrumentation
• Dance styles • Dance styles • Dance styles • Dance styles
6.2 TOPIC 2: ZIMBABWE MUSICAL ARTS HERITAGE

Musical traditions: Budya, Kalanga, Musical traditions: Manyika, Nambya, Musical traditions: Shangwe, Musical traditions: Venda, Xhosa and
Karanga and Korekore Ndau and Ndebele Sotho,Tonga and Tsonga (Shangani) Zezuru
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6.3 TOPIC 3: ZIMBABWE LIBERATION WAR MUSICAL ARTS

• Musical Arts in the First Chimurenga/ • Musical Arts in the Second • Musical Arts in the Third Chimuren- • Current and emerging trends in
Umvukela war Chimurenga/ ga/ liberation wars musical arts
Umvukela war Umvukela war
6.4 TOPIC 4: ZIMBABWEAN MUSICAL ARTS HYBRIDITY

• Musical hybridity • Stylistic origins of core genres • Derivative forms of core genres • Distinctive musical hybrid styles
• Musical arts diffusion • Cultural origins of musical hybrids • Impact of colonialism on musical • Contribution of technology to musical
• Performance of musical hybrids • Popular artists hybrid works hybrids hybridity
• Performance of musical hybrids • Hybrid artworks • Hybrid works
• Performance of musical hybrids • Performance of musical hybrids
6.5 TOPIC 5: ZIMBABWEAN POPULAR MUSICAL ARTS


• Popular musical arts in the pre-colo- • Nature of musical arts in Colonial • Popular musical arts in colonial Zim- • Nature of popular musical arts in
nial era Zimbabwe 1900 to 1950s babwe 1960s to 1970s post -colonial Zimbabwe 1980s to
• Pre-colonial musical arts perfor- • Role and contribution of Zimbabwe • Migration of popular musical arts into date.
4
mances popular musical arts and out of Zimbabwe • Interpretation of popular music
• Analysis of Zimbabwe popular musi- • Interpretation of popular music genres and styles of the era
cal arts genres and styles of the era • Impact of Zimbabwean popular musi-
• Creation and presentation of popular cal arts in the diaspora
musical art works • The role of recording companies and
media in the dissemination of popu-
lar music
• Enterprise skills in popular musical
artworks
6.6 TOPIC 6: DOCUMENTATION OF INDIGENOUS MUSICAL ARTS

• Audio digital recording • Transcription:-indigenous song melo- • Transcription:-indigenous instrumen- • Analysis of indigenous dance styles
dies tal music
• Transcription • Video digital recording • Audio and video project creation • Audio and video projects
6.7 TOPIC 7: MULTIMEDIA DESIGNS IN MUSICAL ARTS


• Studio studies • Outdoor recording • Video recording indigenous musical • Studio recording of musical arts
artworks
• Studio equipment setup • Public Address (P.A.) system • Equipment servicing and repairing • Home studio management
• Recording equipment • Audio recording and disc production • Studio recording of musical artworks • Archiving of indigenous musical arts
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• Creating indigenous musical artworks
• Creating musical arts archives • Archiving of indigenous musical arts using multimedia technology
6.8 TOPIC 8: INTERPRETATION OF INDIGENOUS MUSICAL ARTS

• Musical arts outline • Musical arts outline • Musical arts • Musical arts outline:-
• Codes outline:- • Codes
• Codes - Dance styles
- Mbira styles
• Codes
6.9 TOPIC 9: THEORY OF WESTERN ART MUSIC

• Rhythmic reading and writing (binary • Melodic reading and writing C,G and • Melodic reading and writing D,A and • Melodic reading and writing E major,
and ternary up to the 8th note) F major scales B flat major scales A and E minor scales
• Body percussion 3 step ( 2 and 3 • Body percussion 2 step(2 and 3 • Body percussion 2 and 3 step(4 • Body percussion 2 against 3 and 3
micro divisions) micro divisions) micro divisions) against 2
• Harmony intervals (major 2nd • Harmony-intervals (minor • Harmony-intervals (perfect 4th and • Harmony-tonic triads (I II III IV V VI
,3rd,6th and 7th) 2nd,3rd,6th and 7th) 5th) VII)
• Keyboard/piano/ melodic harmo- • Keyboard /piano/ melodic harmony – • Keyboard/piano/ melodic harmony – • Keyboard/piano/ melodic harmony –
ny-tonic triads, root position (practi- (tonic triads inversions) (chord progressions (I IV V) (applied harmony
cal)
6.10 TOPIC 10: HISTORY OF WESTERN ART MUSIC
6
Historical period Historical period Historical periods Historical periods
• Medieval –up to 1450 AD • Renaissance -1450-1600 • Baroque- 1600-1750 • Romantic 1810-1910
• Classical 1750-1810 • Twentieth century 1910 onwards
• Creation of programme music • Presentation of created works
6.11 TOPIC 11: PERFORMANCE PROFICIENCY

• Performance: nature • Performance : venue and setting • Performance : rehearsals • Performance : practice
• Instrumental techniques: (intermedi- • Instrumental techniques (advanced)
• Instrumental techniques: (elementa- ate) • Instrument of specialization: • Instrumental techniques (mastery)
ry) • Instrument of specialization: - One Indigenous • Instrument of specialisation:
• Instrument of specialization: - One Indigenous - One Western - One Indigenous
- One indigenous - One Western • Vocal techniques - One Western
- One western • Vocal techniques • Dance style conventions • Vocal techniques
• Vocal techniques • Dance style conventions • Instrumental ensemble performance • Dance style conventions
• Dance styles • Instrumental ensemble performance • Instrumental ensemble performance
• Ensemble performance
6.12 TOPIC 12: MUSICAL ENTERPRISE SKILLS
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• Music business:- • Music business:- • Music business:- • Music business:-
- principles - marketing - management - best practice
- registration - promotion • Design process • packaging and disseminating
- branding • Instrument construction and valoriza- • Instrument construction • Musical master project design
- financial management tion • Event promotion and management • Musical profile
• Live stage performances • Branding, promotion and marketing • Artist(s) management • Arts management
of innovative works
• Cultural performances
6.13 TOPIC 13: INTELLECTUAL PROPERTY RIGHTS FOR INDIGENOUS MU-

• intellectual property rights • Intellectual property rights • Intellectual property rights • Intellectual property rights issues
- nature • copyrights - exclusiveness
- origin - Intellectual property registration
- scope - Litigation
- Licensing
FORM ONE
7.0 COMPETENCY MATRIX
7.0 COMPETENCY MATRIX 7.1 : FORM 1
7.1 : FORM 1
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7.1.1: SUB SAHARAN INDIGENOUS MUSICAL ARTS (OVERVIEWS)
TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

Learners should be able to: skills and knowledge) ACTIVITIES
 Southern Africa  identify the indigenous  Southern African  Isolating Southern African countries  Television
o History groups of people in countries  Identifying the indigenous groups of  computers
o Song genres Southern Africa  Cultural traditions people in Southern Africa
o Instrumentation  CD/DVDs
 describe the nature of song  Characteristics of:-  Describing the characteristics of:-  Storage device
o Dance styles genres in Southern Africa o song genre o song genres
 Cameras
 outline different instruments o instrumentation o instrumentation
found in the region o dance styles o dance styles  Indigenous
instruments
 trace the origins of the  Performance  Performing at least one Southern
different musical African dance style  Recording
instruments in Southern equipment
Africa  Internet
 describe the dance styles in  Maps
Southern Africa  Resource centre
 present one Southern  Resource person(s)
African dance style 
7.1.2 : ZIMBABWE MUSICAL ARTS HERITAGE
7.1.2 : ZIMBABWE MUSICAL ARTS HERITAGE

 Musical traditions:  identify musical traditions  History  Naming musical traditions of the  Music resource
Budya,Kalanga,Karanga of the  Song genres Budya,Kalanga,Karanga and centre
and Korekore Budya,Kalanga,Karanga Korekore  Resource person(s)
 Instrumentation
and Korekore groups  Identifying the song genres found in  Musical archives
 Dance styles
 name the song genres the musical traditions
 Computers
found in the musical  Examining the song genres of the
traditions  Smart phones
musical traditions
 distinguish the genres of  Cameras
 Showcasing selected songs from
the musical traditions song genres  Musical instruments
 perform selected songs  Distinguishing musical instruments  CD/DVD players

from the song genres of the cultural traditions  Costumes
 relate musical instruments  Analyzing the musical functions of  Props
to appropriate cultural the instruments used in song genres
groups of musical traditions
 examine the musical  Playing selected instruments from
functions of the the musical traditions
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instruments used in song
 Writing the social and sacred dance
genres of the musical
styles of the musical traditions
traditions
 Stating the roles of dance styles of
 play selected instruments the musical traditions
from the musical traditions
 Outlining the context and meaning of
 list the social and sacred the dances of the musical traditions
dance styles of the
musical traditions  Performing the selected dance
styles from the musical traditions
 outline the roles of dance
styles of the musical
traditions
 state the context and
meaning of the dances of
the musical traditions
 demonstrate the selected
dance styles from the
musical traditions
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7.1.3: ZIMBABWE LIBERATION WAR MUSICAL ARTS
7.1.3 : ZIMBABWE LIBERATION WAR MUSICAL ARTS

 Musical Arts in the First  identify songs sung during  Musical arts  Stating songs sung during the first  Liberation war songs
Chimurenga/ the first Chimurenga/ -roles Chimurenga/Umvukela war  Music resource
Umvukela war Umvukela War -interpretation  Outlining the roles of the war’s centre
 state the roles of musical -meanings musical arts
arts in the war  Resource person(s)
-impact
 analyse the musical texts
 Interpreting the musical texts of the  Musical archives
-performance
war songs
of the war songs  Computers
 determine the significance  Deducing the meanings and impact  Smart phones
of the war songs
of the war songs  Cameras

 perform selected first  Staging selected first
Chimurenga/ Chimurenga/Umvukela war songs  Musical instruments
Umvukela war songs  CD/DVD players
 Costumes
 Props
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7.1.4: ZIMBABWEAN MUSICAL ARTS HYBRIDITY

 Musical hybridity  outline the history of  Origin  Narrating the history of musical  Music resource
 Musical arts diffusion musical hybridity  Scope hybridity centre
 Performance of  state the scope of musical  Trends  Identifying the scope of musical  Archives
musical hybrids hybridity hybridity trends over time  Computers
 Diffusion
 describe musical hybridity  Artists  Relating the movement of musical  Smartphone
trends overtime arts hybridity among cultural groups
 Resource person(s)
 trace the movement of  Naming musical hybrid popular  Print media
musical arts hybridity artists
among cultural groups  Electronic media
 Performing selected works from a
 identify musical hybrid variety of musical arts hybrids  Internet
popular artists
 perform selected works
from a variety of musical
arts hybrids 21
7.1.5: ZIMBABWEAN POPULAR MUSICAL ARTS

 Popular musical arts in  outline popular musical arts  Oral tradition  Researching the importance of pre-  Dances
the pre-colonial era of the pre-colonial era  Dance styles colonial musical arts  Songs
 Pre-colonial musical arts  state the significance of the  Instrumentation  Performing pre-colonial music arts  Researched works
performances popular musical arts in pre- styles
 Props and attire  Discs
colonial era  Spelling out the characteristics of
 Functions  Videos
 name popular musical popular music genres
genres of the era  Secular musical  Folktales and
traditions
 Recital of folktales and folk songs folksongs
 demonstrate popular -satire  Creating works informed by the
musical arts styles of the  Video
-epic musical arts of the era

era  Instruments
-reflective  Presenting created works
 create works informed by -narrative  Dances
the musical arts of the era
 Popular music genres
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23
7.1.6: DOCUMENTATION OF INDIGENOUS MUSICAL ARTS
7.1.8: INTERPRETATION OF INDIGENOUS MUSICAL ARTS

 Musical arts outline  outline indigenous song  Songs  Collecting indigenous song genres  Resource Centre
 Codes genres -folktales  Categorizing indigenous song  Indigenous songs
 identify indigenous -work songs genres  Archives
folktales -musical text
 Identifying song text of various  Resource person(s)
-lullabies
 interpret song genre and songs
 Smart phone
-hunting songs
folk tales musical texts  Decoding musical text signals
-war songs  Camera
-ritual songs  Audio recorder
-satire
 Video camera
 Computers
 Internet
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7.1.7: MULTIMEDIA DESIGNS IN MUSICAL ARTS

 Studio studies  state the purpose of  Recording studio  Discussing functions of a recording  Researched studios
 Studio equipment set up recording studios functions studio work
 Recording equipment  name studio equipment  Studio acoustics  Visiting a nearby recording studio  Studio equipment
 set up studio equipment  Recording processes environment  Recording
 record work using  Mixers, microphones,
 Observing recording in process equipment
available equipment multi track recorders
 Equipment servicing  Setting up mixers, microphones, o phones
 Use of video cameras, speakers, multitrack recorders o laptops
o video recorders
projectors, audio  Maintaining studio equipment
o cameras
recorders
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TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills NOTES AND SUGGESTED RESOURCES
Learners should be able to: and knowledge) ACTIVITIES
• Audio digital recording • record a simple audio caption • recording techniques • Recording of simple audio caption of • Internet
• Transcription of different musical arts • indigenous dances and different musical arts • Video camera
• represent drumming pat- drumming patterns • Performing Zimbabwean indigenous • DVDs/CDs
terns for selected indigenous dances and drumming patterns • DVD player
dance styles • Transcribing indigenous and drum- • Television
ming patterns using appropriate • Laptops
notation methods • Smartphone
• Microphone
• Props and attire
7.1.9: THEORY OF WESTERN ART MUSIC
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TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills NOTES AND SUGGESTED ACTIVITIES RESOURCES
Learners should be able to: and knowledge)
• Rhythmic reading and writ- • read binary rhythms through • note time values (from • Reading binary rhythms through clap- • Videos
ing (binary and ternary up clapping and stamping up to whole note to the 8th ping and stamping to the 8th note • Internet
to the 8th note) the 8th note note) • Writing dictated binary rhythms • CD/DVDs
• Body percussion 3 step( 2 • write binary rhythms • rests • Writing dictated ternary rhythms • Computer
and 3 micro divisions) • read ternary rhythms through • time signature • Walking to the 3 step whilst clapping 2 • Keyboard/piano/ma-
• Harmony intervals (major clapping and stamping • 2 and 4 part counting and 3 micro-divisions rimba
2nd ,3rd,6th and 7th) • write ternary rhythms • 3 step body percussion • Melodica
• Keyboard/piano/ melodica • walk to the 3 step whilst clap- (2 and 3 micro divisions)
harmony-tonic triads, root posi- ping 2 and 3 micro-division • intervals 2nd,3rd,6th and
tion (practical) 7th major intervals
• keyboard harmony in
tonic triads (root position)
practical activity
7.1.9: THEORY OF WESTERN ART MUSIC CONTD..
• identify 2nd, 3rd,6th and 7th • Identifying 2nd, 3rd, 6th and 7th
major intervals aurally and major intervals aurally and visually
visually • Singing 2nd, 3rd, 6th and 7th major
• sing 2nd, 3rd, 6th and 7th intervals
major intervals • Playing tonic triads in root position of
• play tonic triads in root po- all the chords in C major
sition of all the chords in C

major
7.1.10 : HISTORY OF WESTERN ART MUSIC

7.1.10 : HISTORY OF WESTERN ART MUSIC
14
 Historical period  state the genres  Music genres  Identifying the music genres  Internet
- Medieval up to 1450 developed during this era -Gregorian chant developed in the era.  Video camera
AD  examine the style -organum  Deducing the style characteristics of  DVDs/CDs
characteristics of Medieval -mass the music genres of the era.
-motet  DVD player
period music  Outlining the chief composers and
 Style characteristics  Television
 identify chief composers their musical contributions.
and their works  Chief composers and  Laptops
their works  Listening to selected works of the
music genres of the era.  Smartphone
 Microphone
 Props and attire
 Researched works
 Recorded material
7.1.11 : PERFORMANCE PROFICIENCY
• Elementary instrumental • identify techniques for vary- • Refined skills • Identifying the elements of perfor- • Computers
techniques ing levels of performance - handling mance proficiency • CD/DVD players
proficiency ranging from low - posture • Showing skills for refined instrumental • Smartphone
to high order - finger technique performance proficiency • Instruments
• outline structure of perfor- - co-ordination • Applying refined skills in performing • Resource Centre
mance proficiency - finger and arm dexteri- instrumental artworks of choice • Resource person(s)
• display refined performance ty • Memory stick/flash
skills - extemporization
- voice projection
- quality
- diction • Demonstrating vocal techniques for
- phraseology refined performance proficiency
- sustenance
- art of weaving voices
15
- authenticity
- originality
- gestures
• Instrument of specialization • Instrument of specializa-
- One indigenous tion skills • Outlining refined dance style conven-
- One western - accompaniment tions
• Vocal techniques - discipline • Show casing refined dance style con-
• Dance styles - balance and ventions skills
blend
7.1.11 : PERFORMANCE PROFICIENCY CONTD..
• Band leadership • naming refined skills for ensem-

• Performance structure ble performance
- introduction • displaying refined skills in
- development performing selected ensemble
- climax artworks
- declining
- ending
- movement
- weaving
7.1.12 : MUSICAL ENTERPRISE SKILLS
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TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills NOTES AND SUGGESTED ACTIV- RESOURCES
Learners should be able to: and knowledge) ITIES
• Music business:- • describe different business • Business principles such as:- • Discussing different business • DVDs/CDs/ memory
- principles principles - ethics principles stick
- registration • identify different organisations - building of a fan base • Listing different organizations to • Resource person(s)
- branding to which an artist should be - find a need in the market which an artist should be regis- • Internet
- financial management registered place tered • Computer
- communicate the product in • Discussing the process of brand- • Video clips
the values and needs of ing of an artist • Radio
clients • Discussing the advantages of • Television
- accessibility branding
• processing of financial manage-
ment tools (eg receipts, invoice
etc)
7.1.12 : MUSICAL ENTERPRISE SKILLS CONTD..
TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills and NOTES AND SUGGESTED RESOURCES
Learners should be able to: knowledge) ACTIVITIES
• Branding
- generation of a name, logo,
letterhead, personalised
receipts, email, social web-
sites (facebook)
• Registration procedure
• Censorship board
• ZIMURA
• Management of finance
• Live stage performances • Organize a live stage perfor- • Organization, preparation and • Organizing a live stage perfor-
mance marketing of live shows mance
17
7.1.13 : INTELLECTUAL PROPERTY RIGHTS FOR INDIGENOUS MUSICAL ARTS
• Intellectual property rights • state the main tenets of • main tenets of copyright • discussing the main tenets of copy- • Internet
- nature copyright act act right act • Video clips
- origin • trace the history and origins • history and origin of • explaining the history and origin of • Computers
- scope of the principle of intellectual principles of intellectual principles of intellectual property right • Researched work
property rights property rights • Resource persons
7.2: FORM 2
18
• Central Africa • identify the indigenous • Central African countries • Isolating Central African countries • Television
- history groups of people in Central • Cultural traditions • Identifying the indigenous groups of • Indigenous instru-
- song genres African countries • Characteristics of:- people in Central Africa ments
- instrumentation • describe the nature of song - song genre • Describing the characteristics of:- • CD/DVDs
- dance styles genres in Central Africa - instrumentation - song genres • Internet
• outline different instruments - dance styles - instrumentation • Maps
found in the region • Performance - dance styles • Resource centre
• trace the origins of the dif- • Performing at least one Central African • Resource person(s)
ferent musical instruments in dance style • Storage device
Central Africa • Cameras
• describe the dance styles in • Recording equip-
Central Africa ment
• present at least one Central • Computers
African dance style
7.2.2: ZIMBABWE MUSICAL ARTS HERITAGE

 Musical traditions of the  identify musical traditions  History  Naming musical traditions of the  Music resource
Manyika, Nambya, Ndau of the Manyika, Nambya,  Song genres Manyika, Nambya, Ndau and centre
and Ndebele Ndau and Ndebele groups Ndebele  Resource person(s)
 Instrumentation
 name the song genres  Dance styles  Identifying the song genres found in  Musical archives
found in the musical the musical traditions
 Computers
traditions  Examining the song genres of the  Smart phones
 distinguish the genres of musical traditions
the musical traditions  Cameras
 Show casing selected songs from
 perform selected songs song genres  Musical instruments
from the song genres  Distinguishing musical instruments  CD/DVD players

 relate musical instruments of the cultural traditions  Costumes
to appropriate cultural  Analyzing the musical functions of  Props
groups the instruments used in song genres
 examine the musical of musical traditions
functions of the  Performing on selected instruments
instruments used in song from the musical traditions
19
genres of the musical
 Discussing the social and sacred
traditions
dance styles of the musical traditions
 play selected instruments  Stating the roles of dance styles of
 list social and sacred  Outlining the context and meaning of
dance styles of the
the dances of the musical traditions
musical traditions
 Performing the selected dance
 outline the roles of dance styles from the musical traditions
traditions
musical traditions
34
7.2.3: ZIMBABWELIBERATION WAR MUSICAL ARTS
7.2.3: ZIMBABWELIBERATION WARMUSICAL ARTS

 Musical Arts in the  identify songs sung during  Musical arts  Stating songs sung during the  Liberation war songs
second Chimurenga/ the second Chimurenga/ -roles second Chimurenga /Umvukela war  Music resource
Umvukela war Umvukela War -interpretation  Outlining the roles of the war’s centre
arts in the war  Resource person(s)
-impact
 analyse the musical texts
-performance
war songs
of the war songs  Computers
of the war songs of the war songs
 Cameras
 perform selected  Staging selected second

SecondChimurenga/Umvu Chimurenga/Umvukela war songs  Musical instruments
kela war songs  CD/DVD players
 Costumes
 Props
20
7.2.4: MUSICAL ARTS HYBRIDITY

 Stylistic origins of core  outline the origins of  Indigenous musical  Stating the origins of core genre  Music resource
genres hybrid core genre styles traditions styles centre
 Cultural origins of  identify cultural groups  Musical cultures  Tracing the origins of musical  Archives
musical hybrids from which musical hybrids
 Popular artists’ hybrid
 musical styles and  Computers
material for hybrid Organisations  Describing the musical styles and
works  Smartphone
artworks are drawn organization of hybrid artworks
 Performance of musical  Musical hybrids  Resource person(s)
 analyse hybrid works of  Simulating cover versions of
hybrids  Print media
popular artists selected popular artists’ works

35
 perform cover versions of Electronic media

selected artists’ works  Internet
• Nature of musical arts in • give the characteristics of • Makwayera • Collecting colonial period musical art • Music resource cen-
Colonial Zimbabwe popular music. • Township music works tre
• name popular music genres • Solo guitarists • Watching documentaries on colonial • Archives
• Dance styles period musical artists • Computers
• Popular songs • Recreating works based on colonial • Smartphone
• Popular groups period musical artists • Resource person(s)
• Interpreting song texts of colonial peri- • Print media

• name Zimbabwean popular od musical artists • Electronic media
• Role and contributions musical artists • emulating an artist and recreating work • Internet
of Zimbabwean popular • associate musical artists with • Popular music artists based on the artist • Documentaries
musical arts their genres • Popular music works • performing copyright songs • Recorded works
• identify the works of selected awards of life history of • compiling artists’ profiles for archiving • Videos
Zimbabwean artists artists
21
• Career of artists • Discussing the meaning of song lyrics,
• Instrumentation props and attire of popular musical
• interpret popular musical art artworks.
works
• Analysis of Zimbabwean • Song text
popular musical arts • Dance styles
• Instrumentation and attire
• Props
• Transcription • identify different Zimbabwean • Different Zimbabwean • Collecting of Zimbabwean indigenous • Internet
• Video digital recording indigenous song melodies indigenous song melo- song melodies • Video camera
• use appropriate notation dies • Transcribing song melodies using • DVDs/CDs
methods to transcribe indige- • Notation methods appropriate notation methods • DVD player
nous song melodies • Video recording tech- • Recording video/audio captions of • Television
• record video caption of differ- niques different indigenous song melodies • Laptops
ent indigenous song melo- • Smartphone

dies • Microphone
• Resource person(s)
• Outdoor recording
equipment
22
TOPIC LEARNING OBJEVTIVES CONTENT (attitudes, skills NOTES AND SUGGESTED RESOURCES
Laerners should be able to: and knowledge) ACTIVITIES
• Outdoor recording • record outdoor performances • Outdoor recording equip- • Discussing weather conditions for • Outdoor recording
• outline advantages and disad- ment outdoor recording equipment
vantages of outdoor recording • Weather conditions for • Identifying suitable equipment for • Video cameras
outdoor recording outdoor recording • Smart phones
• Outlining the challenges of outdoor • PA system
recording • Recording softwares
• Recording an outdoor audio or video • Shelving units, box-
recording of musical art works of their es, drawers, comput-
choice er and catalogues

• Removable storage
PA system • name the basic Public Address • Portable address system • Discussing PA components that are devices such as
system components • Battery powered PA sys- suitable for selected environments. memory cards, flash
• assemble PA system for perfor- tems etc
mance • Chorded and cordless
microphones
23
• Mixers, amplifiers
• Audio recording and disc • produce audio files and discs • Voice recorder • Audio recording and burning of files
production • Audio recorder soft wares on DVDs
• Portable digital audio • Analysing recorded musical art works
recorders
• Musical archives • set up storage facilities for their • Computer storage • Creating and devising a coding sys-
recorded musical artworks • Cataloguing tem for archiving
• Inventory entries • Setting up a suitable storage facility
for musical art works
• Entering records of archived works in
inventory or catalogues.

 Musical arts outline  outline secular and sacred  Dance styles  Naming secular and sacred cultural  Resource centre
 Codes cultural dances  Foot movements dances  Mbira
 interpret secular sacred  Instrument sound  Decoding foot movement and  Archives
cultural dance codes patterns instrumental sound patterns
 identify various mbira  Mbira modes  Listing various mbira modes  Computer
modes  Decoding mbira song texts and
 Song texts  Smartphone
 interpret various mbira instrument sound patterns
modes  Camera
 Audio and video
recorder

24
 Melodic reading and  read melodies in C,G and  Staff  Sight reading melodies in C,G and  Keyboard/piano/mari
writing C,G and F major F major  Musical alphabet F major mba
scales  write melodies in C,G and  Writing simple melodies in C,G and  Melodica
 The tremble and bass
F major clef F major  Internet
 Accidentals  CD/DVDs
 Structure of the major  Computers
scale
 Key signatures
 Body percussion 2  walk to the 2 step whilst  2 step body percussion  Demonstrate the 2 step whilst
step(2 and 3 micro clapping 2 and 3 micro- (2 and 3 micro-divisions) clapping 2 and 3 micro-divisions
divisions) divisions
 Harmony-intervals(minor  identify 2nd, 3rd, 6th and 7th  Minor intervals  Naming 2nd, 3rd, 6th and 7th minor
2nd,3rd,6th and 7th) minor intervals aurally and (2nd,3rd,6th,7th) intervals from and score
visually
 Keyboard /piano/ play tonic triads in 1st and 2nd  Keyboard harmony in  Playing tonic triads in 1st and 2nd
melodica harmony – inversions tonic triad inversions inversions
(tonic triads inversions)
40
7.2.10: HISTORY OF WESTERN ART MUSIC
• Historical period • describe the characteristics • Musical works • Explaining the characteristics of musi- • Researched works
of Renaissance - secular music cal forms of the era • Recorded material
Renaissance period music - chanson • Listening to songs or pieces of the • Internet
(1450-1600) • trace the origins of art music - madrigal Renaissance period • CD/DVDs
in the period - mass/missa • Discussing musical works of the era • Computers
• identify works and composers • Composers • Creating music that is similar to any
of the period - Giovanni Pierluigi da musical forms of the era
Palestrina. 1525-1594 • Discussing the works of composers of

- William Byrd1540- the era
1623 • Discussing musical works of the era
7.2.11: PERFORMANCE PROFICIENCY
25
TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills NOTES AND SUGGESTED ACTIVI- RESOURCES
Learners should be able to: and knowledge) TIES
• Performance venue and set- • identify suitable venues and • Structure • Describing venues and settings for • Resource centre
ting settings for performance - introduction performance proficiency • Resource person(s)
• Instrumental techniques • outline instrumental tech- - development • Demonstrating instrumental tech- • Computers
(intermediate) niques suitable performance - climax niques suitable for intermediate • Memory stick
• Instrument of specialization proficiency - declining performance proficiency • CD/DVDs
- one indigenous • demonstrate more refined - binding • Performing more refined vocal tech- • Cameras
- one western vocal techniques • Refined skills niques • Electronic media
• Vocal techniques • perform more refined style - handling • Applying more refined dance style • Internet
• Dance style conventions conventions - posture conventions
• Instrumental ensemble per- • demonstrate more refined - fingering technique • Showcasing refined skills in perform-
formance skills in performing selected - co-ordination ing selected ensemble artworks
ensemble artworks - finger and arm dex-
terity
7.2.11: PERFORMANCE PROFICIENCY CONTD..
- extemporization
- vocal projection
- sound quality
- dictation
- phrasing
- sustenance
- co-ordination
- art of weaving voices

- authenticity
- originality
- gestures
- movement
• Instrument of special-
26
ization
• Skills
- co-ordination
- accompaniment
- discipline
- balance and blend
- leadership
- collaboration
7.2.12: MUSICAL ENTERPRISE SKILLS
• Music business • market and promote musical • Music business • Designing marketing and promotion • Samples of promo-
- marketing art works - marketing (multimedia strategies of musical art works tional materials
- promotion • construct and tune instruments marketing) • Making and tuning instruments • Videos
• Instrument construction and • place a value on a musical - promotion(radio inter- Costing a musical product • Internet
valorization product views) • Creating logos and CD covers • Television
• Branding, promotion and • design logos and CD covers • Quality and availability of • Organizing cultural performances in • Computers
marketing of innovative • put together cultural perfor- materials for instrument their appropriate context • DVD players
works mances in their appropriate construction • Projector
• Cultural performances context • Manipulation and choice • DVDs/CDs
of tools • Printers
• Calculating cost of mate-
rial used for instrument
construction
27
• Performing in real con-
text
7.2.13: INTELLECTUAL PROPERTY RIGHTS FOR INDIGENOUS MUSICAL ARTS
TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills NOTES AND SUGGESTED ACTIVI- RESOURCES
Learners should be able to: and knowledge) TIES
• Intellectual property rights • outline the copyright provi- • Provisions of the copy- • Discussing the copyright provisions • Reference books
• Copyrights sions of the Zimbabwean law right and neighbouring act of the Zimbabwean law • Internet
(chapter 26:05)of 2000 • CDs/DVD
• Computer
• Resource person(s)
7.3: FORM 3
• East Africa • identify the indigenous groups • East African countries • Isolating East African countries • Television
- history of people in East African • Cultural traditions • Identifying the indigenous groups of • Indigenous instruments
- song genres countries • Characteristics of: people in East Africa • CD/DVDs
- instrumentation • describe the nature of song - song genre • Describing the characteristics of: • Internet
- dance styles genres in East Africa - instrumentation - song genres • Maps

• outline different instruments - dance styles - instrumentation • Resource centre
found in the region • Performance - dance styles • Resource persons
• trace the origins of the dif- • Exhibiting one indigenous song art- • Storage devices
ferent musical instruments in work and one dance style of choice • Cameras
East Africa different nations of the regions • Recording equipment
28
• describe the dance styles in • Computers
East Africa
• present at least one East
African dance style
• perform one indigenous song
artwork and dance style of
choice from different nations
of the region

Shangwe, Sotho,Tonga of the Shangwe,  Song genres Shangwe, Sotho,Tonga and Tsonga centre
and Tsonga (Shangani) Sotho,Tonga and Tsonga  Identifying the song genres found in  Resource person(s)
 Instrumentation
groups the musical traditions
 Dance styles  Musical archives
 name the song genres  Examining the song genres of the  Computers
found in the musical musical traditions
traditions  Smart phones
 Showcasing selected songs from  Cameras
 distinguish the genres of song genres
the musical traditions  Musical instruments
 Distinguishing musical instruments

 perform selected songs of the cultural traditions  CD/DVD players
 relate musical instruments  Analyzing the musical functions of  Costumes
to appropriate cultural instruments in musical traditions  Props
groups
 Playing selected instruments from
 examine the musical the musical traditions
functions of the
 Discussing the social and sacred
instruments in the musical
dance styles of the musical traditions
29
traditions
 Examining the roles of dance styles
 play selected instruments of the musical traditions
 Outlining the context and meaning of
 list social and sacred the dances from the musical
dance styles of the
traditions
musical traditions
 Performing the selected dance
 outline the roles of dance styles from the musical traditions
styles from the musical
traditions
musical traditions
47
7.3.3: ZIMBABWE
7.3.3: ZIMBABWE LIBERATION LIBERATION
WAR MUSICAL ARTS WAR MUSICAL ARTS

 Musical Arts in the third  identify songs sung during  Musical arts  Stating songs sung during the third  Liberation war songs
Chimurenga/ the third Chimurenga/ -roles Chimurenga /Umvukela war  Music resource
Umvukela war Umvukela war -interpretation  Outlining the roles of the war’s centre
arts in the war  Resource persons
-impact
 analyse the musical texts of
-performance
war songs
the war songs  Computers
of the war songs of the war songs
 Cameras
 perform selected third  Staging selected third

Chimurenga /Umvukela Chimurenga/Umvukela war songs  Musical instruments
war songs  CD/DVD players
 Costumes
 Props
30

 Derivative forms of core  distinguish derivative  Core genres  Discriminating derivative hybrid  Music resource
genres hybrid genres from core  Derivative forms genres from core genres centre
 Impact of colonialism on genres  Discussing musical ideas that reflect  Archives
musical hybrids  Indigenous and western
 identify musical ideas that musical materials on the fusion of indigenous and  Computers
 Hybrid artworks reflect on the fusion of western materials
 Performance of musical  Compositions  Smartphone
indigenous and western  Composing hybrid artworks
hybrids materials  Presentations  Resource person(s)
48
 Performances  Performing created hybrid artworks  Print media

 create hybrid artworks
 present created hybrid  Electronic media
artworks  Storage devices
 Internet

 Popular musical arts in  examine the nature of  Popular music(1960s to  Discussing the characteristics of  Recorded works of
colonial Zimbabwe popular musical arts 70s popular musical arts and what the period under
(1960s to 70s) (1960s-1970s)  Profiles and biographies influenced it study 1960-70s
 create works inspired by of Popular artists  Formulating and performing musical  Music resource
music artworks of the  Song texts and works similar to those of the period centre
period messages under study  Archives
 Dressing, ceremonies,  Collecting and archiving the musical  Computers
shows, festivals of the art works of the period under study
 Smartphone
era
 Cultural heritage  Print media
 Migration of popular  discuss the movement of  Missionary recordings of  Collecting and recording musical
musical arts into and out of  Electronic media
works of art into and out of performing artists artworks from in and outside
Zimbabwe Zimbabwe Zimbabwe that were performed  Storage devices
 Hugh Tracy, Rock n roll
 state the advantages and music styles, Elvis during the 1960s to1970s  Internet
disadvantages of these Presley  Examining the foreign influences on
movements  Loss of cultural indigenous musical arts.
31
heritage
 Interpretation of popular  interpret popular musical art  Dance styles  Discussing the meaning of song
music genres and styles of works  Instrumentation and lyrics, props and attire of popular
the era attire musical artworks.
 props
 Creation and presentation  create popular musical  Improvisation melodic  Formulating popular musical
of popular musical art artworks variations, artworks
works accompaniments,  Performing created musical artworks
 record popular musical instrumentation
 Recording of video and audio
artworks using multimedia  Video and audio musical artworks
designs recordings
 Animation
 Rhythmic variations
50

 Transcription:- indigenous  identify indigenous  Different Zimbabwean  Collecting indigenous instrumental  Internet
instrumental musical instrumental musical instrumental musical musical artworks  Video cameras
artworks artworks artworks  Transcribing instrumental musical  DVDs/CDs
 use appropriate notation to  Notation methods artworks using appropriate notation
Audio and video project  DVD player
transcribe indigenous  Audio and video project systems
production instrumental musical  Television
techniques  Producing a video and audio project
artworks  Laptops
 create a video and an  Smartphone
audio project  Microphone
32
51

 Video recording of  produce video recording of  Recording of  Field trips to capture festivals,  Video cameras
indigenous musical indigenous musical indigenous dances, concerts and ensembles  Phones
artworks artworks ensemble performances  Video editing  Still photo cameras
festivals, concerts
 Studio equipment
 Video editing
 Equipment servicing and  Shelving units,
 repair and service studio  Studio equipment  Setting up P.A system for school, computers,
repairing equipment  P.A system components community activities catalogues
 Setting up and servicing  Servicing and repairing equipment  Internet
after use
of studio equipment
 Updating equipment inventories
 Packaging and storage of equipment
after use
 Studio recording of  rehearse and record selected  Ensemble  Performing in an ensemble and
musical artworks musical works performances recording of musical artworks
 Studio recording  Packaging recorded work for
dissemination
33
 Video production
 Keep a record of produced and
distributed works
 Archiving of indigenous  code and maintain a record  Packaging  Creating a coding systems for easy
musical arts of archived works  Coding of storage and retrieval of works
collected/produced  Producing catalogues and
works documentaries for stored works
 Cataloguing  Making suitable units for work
 Inventories storage
 Computer storage  Computer storage and retrieval
systems
 Write ups/
documentaries
52

 Video recording of  produce video recording of  Recording of  Field trips to capture festivals,  Video cameras
indigenous musical indigenous musical indigenous dances, concerts and ensembles  Phones
artworks artworks ensemble performances  Video editing  Still photo cameras
festivals, concerts
 Studio equipment
 Video editing
 Equipment servicing and  Shelving units,
 repair and service studio  Studio equipment  Setting up P.A system for school, computers,
repairing equipment  P.A system components community activities catalogues
 Setting up and servicing  Servicing and repairing equipment  Internet
of studio equipment after use

 Updating equipment inventories
 Packaging and storage of equipment
after use
 Studio recording of  rehearse and record selected  Ensemble  Performing in an ensemble and
musical artworks musical works performances recording of musical artworks
 Studio recording  Packaging recorded work for
34
 Video production dissemination
 Keep a record of produced and
distributed works
 Archiving of indigenous  code and maintain a record  Packaging  Creating a coding systems for easy
musical arts of archived works  Coding of storage and retrieval of works
collected/produced  Producing catalogues and
works documentaries for stored works
 Cataloguing  Making suitable units for work
 Inventories storage
 Computer storage  Computer storage and retrieval
systems
 Write ups/
documentaries
52

 Musical arts outline  identify secular and sacred  Gestures  Naming secular and sacred cultural  Resource centre
-dance styles cultural dances  Props dances  Mbira
-mbira styles  interpret secular and  Decoding meaning of gestures,
-codes  Attire  Archives
sacred cultural dance props and attire
 Mbira song texts  Resource person(s)
codes  Listing various mbira modes
 Instrumental sound  Computers
 identify various mbira patterns  Decoding mbira song texts and
modes  Smartphones
instrumental sound patterns
 Camera
 Audio and video
players and
recorders
 Internet

35
 Melodic reading D, A  sight read melodies in D,  D, A and B flat major  Sight reading melodies in D, A and B  Keyboard/piano/mari
and B flat major scales A and B flat major scale flat major through playing them on mba
 write melodies in D, A and melodic instruments  Melodica
B flat major  Notating melodies in D, A and B flat  Internet
major
 CD/DVDs
 Body percussion 2 and 3  walk to the 2 and 3 step  4 micro-division body  Demonstrating the 2 and 3 step while
step (4 micro divisions)  Computer
while clapping and percussion clapping and orchestrating micro-
orchestrating micro- divisions  Resource person(s)
 3 part orchestration
divisions
 Alternation of 2 and 3
step
Harmony –intervals (perfect  identify 4th and 5th perfect  Perfect 4th and 5th  Singing 4th and 5th perfect intervals
4th and 5th) intervals intervals
Keyboard/piano/melodic  play chord progressions (I  Keyboard harmony  Demonstrating chord progressions (I
harmony-(chord progressions IV V) chord progressions (I IV IV V)
(I IV V) V) permutations)
53
• Historical periods • describe the characteristics of • Music characteristics of • Discussing the musical forms eras • Researched works
- Baroque 1600-1750 Baroque and Classical music the periods: • Listening to songs or pieces of the • Recorded material
- Classical 1750-1810 • trace the origins of art music Baroque and Classical two periods
- creation of programme in the periods • Musical forms • Creating music pieces similar to
music • identify works and composers - opera musical forms of the two eras
of the period - symphony • Discussing the works of composers
- oratorio listed
- cantata
- sonata
- concerto
- suite
- minuet
- fugue
36
- binary form
- ternary form
- ballet
- etude
- waltz
• Music composers
Baroque: Johann Se-
bastian Bach (1685-
1750)
• George Frideric Han-
del (1685-1759)
• Performance rehearsal • outline rehearsal skills neces- • Structure • Discussing rehearsal skills neces- • Resource centre
• Instrumental techniques sary for performance profi- - introduction sary for performance proficiency • Resource person(s)
(advanced) ciency - development • Displaying advanced instrumental • Computers
• Instrument of specializa- • demonstrate advanced instru- - climax skills in performing selected musical • Storage devices
tion mental skills in performance - declining artworks • CD/DVDs
- one indigenous proficiency - binding • Performing advanced vocal tech- • Cameras
- one western • showcase advanced vocal • Refined skills niques embedded in selected musi- • Electronic media
• Vocal techniques techniques in performing a - handling cal artworks • Internet

• Dance style conventions variety of artworks of choice - posture • Demonstrating advanced dance
• Instrumental ensemble • display advanced dance - fingering technique convention skills in performing styles
performance convention skills in performing - co-ordination • Identifying advanced skills for en-
selected styles - finger and arm dexter- semble performance
• display advanced skills in ity • Showcasing advanced skills in per-
37
performing selected ensemble - extemporization forming ensemble artworks
artworks - voice projection
- sound quality
- dictation
- phrasing
- sustenance
- co-ordination
- art of weaving
voices
- authenticity
- originality
- gestures
- movement
7.3.11: PERFORMANCE PROFICIENCY CONTD..
TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills and NOTES AND SUGGESTED AC- RESOURCES
Learners should be able to: knowledge) TIVITIES
• Instrument of specialization
• Skills
- co-ordination
- accompaniment
- discipline
- balance and blend
- leadership
- collaboration
38
TOPIC LEARNING OBJECTIVES CONTENT (attitudes, skills and NOTES AND SUGGESTED AC- RESOURCES
Learners should be able to: knowledge) TIVITIES
• Music business • demonstrate managerial • Managerial skills such as • Discussing managerial skill • Resource centre
- management skills - proficiency • Simulating managerial roles • Resource person(s)
• Design process • use different design pro- - people skills • Identifying and analyzing • Computers
• Instrument construction cesses and technologies - flexibility design problems related to • Memory stick
• Event promotion and • identify suitable material for - ethical musical arts • CD/DVDs
management instrument construction - strategic thinking • Selecting suitable material for • Cameras
• Artist(s) management • design appropriate promo- - contract instrument construction • Electronic/print media
tional and management • Design processes
strategies - problem solving approach
• select suitable strategies to - problem identification and
manage an artist analysis
7.3.12: MUSICAL ENTERPRISE SKILLS CONTD..
TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED ACTIVITIES RESOURCES
Learners should be able to: skills and knowledge)
• design appropriate promotional • Suitable material for • Designing appropriate promotional and • Internet
and management strategies instrument construction management strategies • Contract templates
• select suitable strategies to - parts of the instru-
manage an artist ment
• Advertising through
multimedia

39
Intellectual property rights  give an account of the  Intellectual property  Discussing litigation processes in  Internet
 Exclusiveness litigation process in case of registration case of infringements  Reference books
 Intellectual property infringement  Litigation  Explaining the requirements of  Videos
registration  summarise the  Licensing intellectual property registration
 Television
 Litigation requirements of intellectual  Identifying case studies of litigation
registration.  DVDs/CDs
 licensing
7.4: FORM 4
• West Africa • identify West Africa • Western African coun- • Identifying countries in West Africa • Television
- History • countries tries • Identifying the indigenous groups of • Reference books
- Song genres • identify the indigenous groups • Cultural traditions people in West Africa • Indigenous instru-
- Instrumentation of people in West Africa • Characteristics of: • Describing the nature of the different ments
- Dance styles • describe the nature of the - song genre indigenous musical arts • CD/DVDs
different indigenous musical - instrumentation • Discussing the origins of the different • Internet
arts - dance styles musical arts • Maps
• discuss the origins of the • Performance • Discussing the contributing factors to
different musical arts the origins of different musical arts in
• analyse the contributing fac- West Africa
tors to the origins of different • Analysing the significance of different
40
musical arts in West Africa cultural functions of indigenous musi-
• analyse the significance of cal arts
different cultural functions of
indigenous musical arts

Venda, Xhosa and of the Venda, Xhosa and  Song genres Venda, Xhosa and Zezuru centre
Zezuru Zezuru groups  Identifying the song genres found in  Resource person(s)
 Instrumentation
 name the song genres the musical traditions  Musical archives
 Dance styles
found in the musical  Examining the song genres of the  Computers
traditions musical traditions
 Smart phones
 distinguish the genres of  Showcasing selected songs from
the musical traditions  Cameras
song genres
 perform selected songs  Musical instruments
 Distinguishing musical instruments

from the song genres of the cultural traditions  CD/DVD players
 relate musical instruments  Analyzing the musical functions of  Costumes
to appropriate cultural the instruments used in song genres  Props
groups of musical traditions
 examine the musical  Playing selected instruments from
functions of the the musical traditions
41
instruments from the
musical traditions
 Simulating the social and sacred
 play selected instruments dance styles of the musical traditions
 Discussing the roles of dance styles
 list social and sacred of the musical traditions
dance styles of the
 Examining the context and meaning
musical traditions
of the dances of the musical
 outline the roles of dance traditions
 Performing created artworks in
traditions
public live performances
 explain the context and
 demonstrate selected
musical traditions
 stage created artworks in
public live performances
60
7.4.3: ZIMBABWE LIBERATION WAR MUSICAL ARTS
7.4.3: ZIMBABWE LIBERATION WARMUSICAL ARTS

 Current and emerging  explain the current trends  Contemporary Musical  Discussing meaning of the current  Festivals
trends in liberation wars in liberation wars musical arts:- liberation wars musical arts documentaries
musical arts arts -roles Through analysis of song texts  Music resource
 give historical bearing of -interpretation  Discussing feelings/emotions centre
liberation wars musical -meanings evoked by the performance of  Resource person(s)
arts to the current -impact liberation wars musical arts
-feelings  Musical archives
generation  Creating a musical artwork related
-performance to the emerging revolutionary  Computers
 explain the feelings
evoked by the liberation trends through the use of  Smart phones
wars musical arts technology  Cameras

 compose a musical artwork  Performing revolutionary wars  Musical instruments
related to the emerging musical arts at community or  CD/DVD players
revolutionary trends national gatherings
 Costumes
through the use of
technology  Props
 exhibit the created works
42
61

 Distinctive musical  identifying the style  Prominent artworks  Isolating the style characteristics of  Music resource
hybrid styles characteristics of distinctive  Technological distinctive artworks centre
 Contribution of artworks contributions to  Discussing the contribution of  Archives
technology to musical  explain the contribution of hybridity technology to musical hybridity
hybridity  Recording created hybrid works
 Computers
technology to musical  Live performance
 Hybrid works through musical technologies  Smartphones
hybridity
 Performance of musical  Staging Live performances of  Resource person(s)
 produce created hybrid
hybrid created works  Electronic/print
works through musical
technologies media
 disseminate created hybrid

works through media
 perform created works at
live shows
43
• Nature of popular musical • examine the nature of popular • Musical arts genres from • Discussing the characteristics of pop- • Recorded works of
arts in post -colonial Zimba- musical arts 1980s to date 1980 to date ular musical arts from 1980 to date the period under
bwe 1980s to date. • create a musical artwork • Biographies and profiles • Formulating a musical artwork draw- study 1980s to date
drawing ideas from musical of popular artists. ing ideas from musical materials of • Documentaries and
materials of the era • Instrumentation, attire the era artists’ profiles
and props • Collecting and archiving the works of • Recording companies
• Dance styles the period under study
• Interpretation of popular • interpret popular musical art- • Song texts, messages • Discussing the meaning of messages, • Music resource centre
music genres and styles of works • Local regional, interna- props and attire
the era tional artists’ interactions derived popular musical artworks
and collaborations 62
7.4.5: ZIMBABWEAN POPULAR MUSICAL ARTS CONTD..
• Impact of Zimbabwean • trace the spread of Zimbabwe • Indigenous popular musi- • Researching on factors that promot- • Archives
popular musical arts on the popular music in the diaspora cal arts in the diaspora ed the spread of popular musical • Computers
diaspora • review festivals, galas and • Festivals, galas and inter- artworks into the diaspora and their • Smartphones
international shows national shows impact on the local market • Resource person(s)
• state advantages/disadvan- • Indigenous styles that • Live performances • Electronic/print media
tages of the spread have spread in the dias-
pora
• The role of recording com- • state the functions of record- • Impact of the spread of • Visiting recording companies
panies and media in the ing companies popular music in the dias-
dissemination of popular pora
music • Role of recording compa-
nies
44

 Analysis of indigenous  identify the indigenous  Different indigenous  Discussing different indigenous  Internet
dance styles dance styles and dancing styles and dance styles and drumming patterns  Video camera
 Audio and video projects drumming patterns drumming patterns  Analysing the cultural aspects of  DVDs/CDs
 examine the cultural  Cultural aspects of indigenous dance styles and
 DVD player
aspects of indigenous dance styles drumming patterns
dance styles and  Television
 Audio and video project  Creating a video and an audio
drumming patterns production project  Laptops
 create a video and an  Smartphone
audio project  Microphone
 Print media
 Attire
• Studio recording of musical • create and record works in • Recording and Mastering • Recording performed works in ensem- • Studio recording
arts studios • Documentary production bles equipment
• Producing recorded documentaries of • Shelving units,
indigenous musical arts • Computers,
• Catalogues
• Home studio management • improvise and set up a • Improvised studio set ups • Setting up home studio equipment • Internet
recording studio • Studio equipment mixers, • Video camera
• improvising in setting up a microphones, multitrack • DVDs/CDs
recording studio (double • Burning soft wares • DVD player

barreled obejective) • Television
• Archiving of indigenous • code works for archiving • Coding of collected/pro- • Package and distribute produced • Smartphone
musical arts • maintain a record of ar- duced works works • Microphone
chived works • Cataloguing • Creating coding systems for easy stor- • Print media
• Inventories age and retrieval of works
45
• Computer storage • Compiling catalogues and documenta-
• shelving units ries for stored works
• Archived work write-ups/ • Computer storage and retrieval sys-
documentaries tems
• Creating indigenous • create works using appropri- • Improvised melodies • Producing musical artworks using
artworks using multimedia ate soft wares • Rhythmic variations multimedia technology
technology • Vocal and instrumental • Setting up equipment for live perfor-
accompaniments in vari- mances
ous genres and styles
7.4.8: INTERPRETATION
7.4.8: INDIGENOUS MUSICAL
OFINTERPRETATION OFARTS
INDIGENOUS MUSICAL ARTS

 Musical arts outline  identify secular and sacred  Ceremonies and  Listing secular and sacred  Resource centre
 Ceremonies ceremonies functions ceremonies  Mbira
 Codes  interpret codes of secular  Mbira musical  Decoding dance and mbira song  Archives
and sacred ceremonies Arts texts
 Texts, dance, song and  Examining dance and mbira psyche
psyche  Computer
and signals
 Mbira musical psyche  Smartphone
 Camera
 Audio and video
player

46
 Melodic reading and  sight read melodies in E  E major, A and E minor  Reading melodies in E major, A and  Key
writing E major, A and E major, A and E minor keys scales E minor keys board/piano/melodic
minor scales  write melodies in E major,  Melody dictation  Notating melodies in E major, A and a
 Body percussion 2 A and E minor keys E minor keys  Videos
against 3 and 3 against  Body percussion 2
2  transcribe melodies in C against 3 and 3 against  Transcribing melodies in C major  Internet
major 2 rhythm  Demonstrating the 2 against 3 and 3  Computer
 Harmony-tonic triads (I
II III IV V VI VII)  walk to the 2 against 3 and  Harmony tonic I II III IV against 2  DVD players
 Keyboard/piano/ 3 against 2 V VI VII (root position)  Playing 7 tonic triads in C major
melodica harmony –  identify 7 tonic triads in C  Keyboard harmony  Singing the 7 tonic triads in C major
(applied harmony) major (applied harmony)
 Composing musical pieces using I IV
 sing the 7 tonic triads in C V chord progression permutations
major
 create musical pieces using
I IV V chord progression
permutations
66
• Historical periods • describe the characteristics • Analysis of musical works • Examining the characteristics of each • Researched works
- Romantic 1810-1910 of Romantic and 20th century • Musical work genres: of the periods listed • Recorded material
- 20th century 1910 on- music - orchestra • Analysing the musical works of the • Resource person(s)
wards • identify composers of the two - symphony selected composers • Computer
eras and their works - opera • Performing popular musical works • Smartphone
- string quartet of the composers of one of the listed • Camera
- sonata periods • Audio and video play-
• The influence from world er

music genres
- jazz
- blues
- rhythm n’ blues
- reggae
47
• Presentation of created • create a musical artwork • Creation of musical works • Creating and performing musical • Researched works
works drawing ideas from musical • Musical art works analy- works similar to those of the Romantic • Recorded material
materials of the two eras sis and performance and 20th Century art music • Resource person(s)
• perform the created musical • Recorded musical art • Computer
works works • Smartphone
• analyse the created musical • Camera
works • Audio and video play-
er

 Performance practice  demonstrate mastery  Structure  Displaying expert skills necessary  Resource centre
 Instrumental techniques instrumental skills in - introduction for performance proficiency  Resource person(s)
(mastery) performing selected - development  Showcasing expert skills in
 Instrument of ensemble artworks  Computers
- climax manipulating instrument of
specialisation  exhibit vocal mastery skills in - declining  Storage devices
specialization in performing artworks
o One indigenous performing artworks of - binding of choice  CD/DVDs
instrument choice  Refined skills  Cameras

 Displaying vocal mastery skills in
o One western - handling performing artworks of choice  Electronic media
instrument - posture
 Vocal techniques  Showcasing expert skills in  Internet
- fingering technique
 dance style conventions articulating style conventions
- co-ordination
 Instrumental ensemble - finger and arm  Outlining mastery skills for ensemble
performance dexterity performance
- extemporization  Displaying expert skills in performing
48
- voice projection selected ensemble art works
- sound quality
- dictation
- phrasing
- sustenance
- co-ordination
- art of weaving
voices
- authenticity
- originality
- gestures
- movement
 Instrument of
specialization
 Skills
- co-ordination
- accompaniment
- discipline
69
• Music business • demonstrate appropriate • Design and printing soft- • Exhibiting appropriate business prac- • Computers
- Best practice business practices ware tices • Internet
• Packaging and disseminat- • create CD or DVD cover • Colour scheme • Designing CD or DVD cover designs • CDs/DVD
ing designs • Musical arts creation and • Creating a musical artwork • Videos
• Musical master project • produce a musical artwork production techniques • Showcasing a musical artwork • Pictures
design • present a musical artwork • Recording soft wares • Analysing their own design • Resource centre
• Musical profile • evaluate their own produc- • Musical profile sub- titles • Drawing up a musical profile • Resource person(s)
tion • Storage devices

• compile a musical artwork • Cameras
profile • Electronic media
49

 Intellectual property  explain intellectual  Intellectual property  Examining intellectual property rights  DVDs/ CDs
rights issues property rights issues rights issues issues  Videos
 Identify protection and  Hardware and software  Naming protection and management  Internet
management soft wares for protecting musical software
 Television
 identify protected musical works from piracy  Describing different forms of piracy  Print media
works  Procedures of  Discussing how to protect musical
packaging and  Computers
 explain different forms of works from piracy
piracy marketing protected  Resource centre
 Exploring procedures of packaging
musical works  Resource person(s)
 explore how to protect and marketing protected musical
musical works from piracy  Marketing channels works  Storage devices
 apply procedures of
packaging and marketing
protected musical works
8.0 ASSESSMENT OBJECTIVES
8.1 Assessment Objectives
By the end of the four years, learners should be able to demonstrate:
8.1.1 aural attentiveness and discrimination

8.1.2 indigenous musical arts proficiency
8.1.3 knowledge and understanding of presented musical artworks
8.1.4 an understanding of the styles or contexts of musical arts selected for performance
8.1.5 understanding of the creative process reflected through musical decisions in the process of composing,
arranging, choreography and improvisation
8.1.6 use of appropriate technical vocabulary in original works
8.1.7 use of musical elements (e.g. rhythmic, melodic motifs, harmonic progressions, tone colours) in generated
works
8.1.8 use of extra-musical stimuli (e.g. cultural heritage, national identity ,peace building, moral values, visual arts,
literary works, nature scenes,) in created works
8.1.9 ability to create different musical artworks
8.1.10 ability to document created musical artworks through the use of technologies
8.1.11 decision making and problem solving skills through critical appraisal of the products of creative effort
8.1.12 ability to use multimedia designs in indigenous musical arts
8.1.13 enterprise skills through accomplished musical arts business venture projects
8.1.14 musicianship qualities
8.1.15 nurturing and cherishing of indigenous musical arts through collecting and archiving of tangible and intangi-
ble heritage
50
8.2 ASSESSMENT MODEL
Assessment of learner performace Musical Arts (100%)
Continuous Assessment 35% Summative Assessment 35%
Profiling Projects Performance Multiple Structured and Performance

20% Proficiency 15% Choice Essay Questions Proficiency
20% 30% 15%
Moderated Continuous Assessment Mark Examination Mark 65%

= 35%
Profile
Exit Profile
51
8.3 Scheme of Assessment
Candidates will be required to offer Paper 1, Paper 2 and Paper 3 as follows:-
Paper Type/Title of Paper Duration Marks Weighting

1 Multiple Choice Questions 1 hour 40 20%
2 Structured Qquestions 2 hours 100 30%
3 Section Aa continuous Course work profiling 50 20%
Assessment of creatyed works (three years and two
project terms)
Ssection B Performance Practical Tests ( 30 30%
proficiency (recital) 5 - 10 minutes)
Summative Assessment 65%
Paper 1- Multiple choice questions weighting 20%. This paper will consist of 40 questions.
Paper 2- Structured questions weighting 30%. This paper will carry short structured questions and free response
essay type questions.
Paper 3 –performance proficiency 15%
NB Performance proficiency contributes 30% of the final mark (15% summative assessment and 15% continuous
assessment)
Continuous Assessment (35%)
Performance Proficiency and project
Performance proficiency (continuous assessment) 15%
This is a continuous assessment paper in which candidates will be assessed termly and yearly by their teachers. A
candidate will be assessed on two own choice instruments (one indigenous and one western). The Examining board
will advise on set pieces for final assessment to be performed together with the candidate’s own created/arranged
works.
Project 20%
Continuous assessment shall involve projects in selected musical arts, tests, assignments and instruments. A learner
is expected to produce a project portfolio at each of the following levels-:
Form 1-2 and form 3-4
This project section consists of a project created by the candidate on indigenous musical arts. The candidates are free
to generate a project from areas of Multimedia design and or Music Business.
NOTE: A profile system has to be developed for every learner to capture all the attributes in musical arts. The learner
should display both soft skills and hard skills. Observation schedules, checklists, tests and project tasks are to be set
and standardized nationally.
52
9.0 SPECIFICATION GRID
Component Skills Wweighting Marks Allocated

Paper 1 Knowledge and understanding 10%
Multiple Choice Application 5%
20% Analysis 5%
Paper 2 Knowledge and understanding 10%

Structured and Essay questions Application 10%
30% Problem Solving 10%
Performance Proficiency Knowledge and understanding 10%

30% (15% continuous and 15% Application 10%
summative assessment Analysis and Synthesis 10%
Project 20% Knowledge and understanding 5%

Application 10%
Problem Solving 5%
GLOSSARY
10. GLOSSARY OF TERMS USED IN THE MUSIC CONTENT
accompaniment Vocal or instrumental parts that accompany a melody.
aerophone A musical instrument (such as a trumpet/upondo/Hwamanda) in which sound is generated by

a vibrating column of air.
articulation The manner in which notes are performed, such as staccato or legato.
atonal A type of music in which tones and chords are not related to a central keynote.
augmented interval A major or perfect interval raised by a half step.
beat A constant unit of measure of rhythmic time.
canon A musical form in which a melody is imitated exactly in one or more parts, similar to a round.
chord Three or more tones sounded simultaneously.
chordaphone An instrument(such as a guitar, chipendani/umkube, uhadi) the sound of which is created by

means of strings stretched between two points.
clef A symbol written at the beginning of a musical staff indicating which notes are represented by
which lines and spaces. (bass clef, treble clef, tenor clef and Alto clef)
composition Creation of original music by organizing sound, usually written for others to perform.
compound meter A type of meter in which the beat is divided into threes or sixes.
53
concerto A composition for orchestra and soloist.
descant A melodic line or counterpoint accompanying an existing melody.
diatonic scale A major or minor scale with seven pitches (Heptatonic) adjacent to each other and
separated by a tone or a semitone.
diminished interval A minor or perfect interval lowered by a half step.
duple meter A time signature with groups of two beats to the measure.
dynamics Varying degrees of volume in the performance of music.
dynamic markings The symbols indicating the varying degrees of volume: pp —pianissimo, very soft;
p—piano, soft; mp— mezzo piano, medium soft; mf—mezzo forte, medium loud; f—forte, loud; and ff—fortissimo, very
loud.
elements of music Melody, harmony, rhythm, and form and the expressive elements of dynamics, tempo,
and timbre (tone colour).
Embellishments ornaments or notes added to a melody or rhythmic pattern.
Melodic and The organization and structure of a melodic composition and the interrelationships of
musical
rhythmic form events within the overall structure.
fugue A composition in which three or more voices enter one after the other and imitate the
main melody in various ways according to a set pattern.
genre Type or kind of musical work (e.g., opera, jazz, mariachi, sungura, rhumba).
harmonic progression A succession of individual chords or harmonies that form larger units of phrases, sec-
tions, or compositions.
harmony The simultaneous sounding of two or more tones.
idiophone A musical instrument (such as hosho, amahlwayi and ratchet) the sound of which is
produced by shaking or scraping.
improvisation Spontaneous creation of music.
interval The distance in pitch between two tones.
levels of difficulty The levels of difficulty for the musical content standards are as follows: Level 1: very easy;
easy keys, meters, and rhythms; limited ranges. Level 2: easy; may include changes of tempo, key, and meter;
modest ranges. Level 3: moderately easy; contains moderate technical demands, expanded ranges, and varied
interpretive requirements. Level 4: moderately difficult; requires well-developed technical skills, attention to phrasing
and interpretation, and ability to perform various meters and rhythms in a variety of keys. Level 5: difficult; requires
advanced technical and interpretive skills; contains key signatures with numerous sharps or flats, usual meters,
complex rhythms, subtle dynamic requirements. Level 6: very difficult; suitable for musically mature students of
exceptional competence.
54
major key Tonally, a key based on a major scale; a scale that contains the following step pattern:
whole, whole, half, whole, whole, whole, half; or uses the sol-fa tones of do, re, mi, fa, so, la, ti, do.
melody An organized sequence of single notes.
membranophone A musical instrument (such as drum/ngoma/ingungu) that produces sound through the
vibrations of a membrane.
meter The grouping of beats by which a piece of music is measured.
minor key Tonally, a key based on a minor scale; a scale that contains the following step pattern: whole,
half, whole, whole, half, whole, whole; or uses the sol-fa tones of la, ti, do, re, me, fa, so, la.
mixed meter A mixture of duple and triple meters.
mode A type of scale with a specific arrangement of intervals (e.g., Aeolian, Dorian, Ionian, Locrian,
Lydian, Mixolydian, Phrygian).
notation A system of writing music indicating pitch and rhythm for performance..
opera A drama set to music for voices and orchestra, presented with costumes and sets.
oratorio A dramatic musical composition usually set to a religious text and performed by solo voices,
chorus, and orchestra without action, special costumes, or scenery.
ostinato A rhythmic or melodic accompaniment figure repeated continuously.
pentatonic scale A scale having five tones to the octave and containing no half steps: do, re, mi, so, la.
phrase A musical idea comparable to a sentence or a clause in language.
pitch The location of a note related to its highness or lowness.
rhythm The combinations of long and short, even or uneven sounds that convey a sense of move-
ment in time.
rondo form A musical form in which a section is repeated, with contrasting sections in between, such as
ABACA.
scale The arrangement of notes in a specific order of whole and half steps.
score The organized notation of all of the instrumental and or vocal parts of a composition.
solfège A system of designating verbal syllables for the degrees of the scale.
sonata-allegro form A musical form that uses the overall design of exposition, development, and recapitulation.
song forms The organization of sections of a song, represented by letters that depict similar and con-
trasting sections: AB, ABA, AABA, ABC, verse/refrain, and so forth.
staff (stave) The horizontal lines on and between which notes are written.
suite A musical composition consisting of a succession of short pieces.
55
symphony A long orchestral work divided into three to five movements.
syncopation The placement of rhythmic accents on weak beats or weak portions of beats.
tempo The pace at which music moves according to the speed of the underlying beat.
texture The overall character of the different layers of horizontal and vertical sounds.
theme and variation A compositional form in which a theme is clearly stated and is followed by a number of varia-
tions.
timbre Tone colour or quality of sound heard.
tonality (key) The tonal centre of a composition.
triad A three-note chord consisting of root, third, and fifth.
triple meter Beats grouped into a set of three.
56

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ZIMBABWE

MINISTRY OF PRIMARY AND SECONDARY EDUCATION

Curriculum Development and Technical Services

© All Rights Reserved

• The National Musical Arts Syllabus Panel

2.0 PRESENTATION OF THE SYLLABUS.........................................................................................................2

4.0 SYLLABUS OBJECTIVES...........................................................................................................................2

5.0 SYLLABUS TOPICS.....................................................................................................................................2

6.0 SCOPE AND SEQUENCE CHART..............................................................................................................3

7.0 COMPETENCY MATRIX................................................................................................................................8

7.1: FORM 1.........................................................................................................................................................8

7.2: FORM 2.........................................................................................................................................................18

7.3: FORM 3.........................................................................................................................................................28

7.4: FORM 4.........................................................................................................................................................40

8.0 ASSESSMENT OBJECTIVES.......................................................................................................................50

8.2 ASSESSMENT MODEL.................................................................................................................................51

9.0 SPECIFICATION GRID..................................................................................................................................53

1.0 PREAMBLE 1.4.1 Methodology

The syllabus helps learners to develop skills to engage 1.5 Assumptions

The indigenous Musical Arts learning area will encom-

 Gender ware in musical production

3.0 AIMS 5.0 SYLLABUS TOPICS

4.0 SYLLABUS OBJECTIVES

4.1 place various indigenous musical arts genres

FORM 1 FORM 2 FORM 3 FORM 4

6.2 TOPIC 2: ZIMBABWE MUSICAL ARTS HERITAGE

FORM 1 FORM 2 FORM 3 FORM 4

FORM 1 FORM 2 FORM 3 FORM 4

FORM 1 FORM 2 FORM 3 FORM 4

6.5 TOPIC 5: ZIMBABWEAN POPULAR MUSICAL ARTS

FORM 1 FORM 2 FORM 3 FORM 4

FORM 1 FORM 2 FORM 3 FORM 4

6.7 TOPIC 7: MULTIMEDIA DESIGNS IN MUSICAL ARTS

FORM 1 FORM 2 FORM 3 FORM 4

6.8 TOPIC 8: INTERPRETATION OF INDIGENOUS MUSICAL ARTS

FORM 1 FORM 2 FORM 3 FORM 4

FORM 1 FORM 2 FORM 3 FORM 4

6.10 TOPIC 10: HISTORY OF WESTERN ART MUSIC

FORM 1 FORM 2 FORM 3 FORM 4

6.12 TOPIC 12: MUSICAL ENTERPRISE SKILLS

FORM 1 FORM 2 FORM 3 FORM 4

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

 perform selected songs  Distinguishing musical instruments  CD/DVD players

7.1.3 : ZIMBABWE LIBERATION WAR MUSICAL ARTS

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

of the war songs  Cameras

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

-epic musical arts of the era

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES

7.1.9: THEORY OF WESTERN ART MUSIC

sition of all the chords in C

7.1.10 : HISTORY OF WESTERN ART MUSIC

• Band leadership • naming refined skills for ensem-

7.1.12 : MUSICAL ENTERPRISE SKILLS

7.2.1: SUB SAHARAN INDIGENOUS MUSICAL ARTS (OVERVIEWS)

TOPIC LEARNING OBJECTIVES CONTENT (attitudes, NOTES AND SUGGESTED RESOURCES