SAQA All qualifications and part qualifications registered on the National Qualifications Framework are public property. Thus the only payment that can be made for them is for service and reproduction. It is illegal to sell this material for profit. If the material is reproduced or quoted, the South African Qualifications Authority (SAQA) should be acknowledged as the source.
SOUTH AFRICAN QUALIFICATIONS AUTHORITY 
REGISTERED QUALIFICATION THAT HAS PASSED THE END DATE: 

Advanced Diploma: Performer's Licentiate (UPLM) (in any approved instrument and singing) 
SAQA QUAL ID QUALIFICATION TITLE
60131  Advanced Diploma: Performer's Licentiate (UPLM) (in any approved instrument and singing) 
ORIGINATOR
University of South Africa 
PRIMARY OR DELEGATED QUALITY ASSURANCE FUNCTIONARY NQF SUB-FRAMEWORK
CHE - Council on Higher Education  HEQSF - Higher Education Qualifications Sub-framework 
QUALIFICATION TYPE FIELD SUBFIELD
Advanced Diploma  Field 02 - Culture and Arts  Music 
ABET BAND MINIMUM CREDITS PRE-2009 NQF LEVEL NQF LEVEL QUAL CLASS
Undefined  240  Level 7  Level TBA: Pre-2009 was L7  Regular-Provider-ELOAC 
REGISTRATION STATUS SAQA DECISION NUMBER REGISTRATION START DATE REGISTRATION END DATE
Passed the End Date -
Status was "Reregistered" 		 SAQA 091/21  2021-07-01  2023-06-30 
LAST DATE FOR ENROLMENT LAST DATE FOR ACHIEVEMENT
2024-06-30   2028-06-30  

In all of the tables in this document, both the pre-2009 NQF Level and the NQF Level is shown. In the text (purpose statements, qualification rules, etc), any references to NQF Levels are to the pre-2009 levels unless specifically stated otherwise.  

This qualification does not replace any other qualification and is not replaced by any other qualification. 

PURPOSE AND RATIONALE OF THE QUALIFICATION 
Purpose:

The purpose of this qualification is to provide qualifiers with the necessary performance ability as instrumentalists and singers and to value music as a form of self expression and communication. 

LEARNING ASSUMED TO BE IN PLACE AND RECOGNITION OF PRIOR LEARNING 
For admission to any section of the licentiate examination, a candidate should have obtained credit for the Unisa grade 8 examination (NQF Level 5) in the same instrument or singing as the one being presented for the licentiate (any instrument and singing). 

RECOGNISE PREVIOUS LEARNING? 
N 

QUALIFICATION RULES 
Minimum credits required at specific levels or maximum credits when these exceed the minima specified in regulation 8 or 9:
  • 240 Credits at NQF Level 7. 
    		•

    EXIT LEVEL OUTCOMES 
    Core content:
  • Public performance of repertoire.
  • Harmony and Counterpoint.
  • History of Music.
  • Musical Form.

    Specific outcomes are divided into practical and fundamental competences. They are represented together with the assessment criteria.

    Achievement of associated assessment criteria involved is on the standards and levels of NQF Level 7.

    1. Performance of Repertoire:

    Practical Competence:
  • The music examinee must have the necessary performance skills in order to realise notation into sound on the chosen instrument (or singing).

    Fundamental Competence:

    The music examinee should be able to demonstrate an understanding of the following:

    ­> Temporal element: Beat, meter, rhythm, time signatures, tempo.
  • Tonal element: Tone, pitch designation, scales, key signatures, tonality, modes, melody.
  • Timbre-dynamic element: Dynamics, articulation, timbre.
  • Textural element: Harmonic intervals, chords, harmony, monophonic, homophonic and polyphonic texture.
  • Formal element: Motive, phrase, period, section, movement, sectional forms, polyphonic forms, variation forms, multi-movement forms, free forms, song forms.

    2. Harmony and Counterpoint:

    Practical Competence:
  • The music examinee must have the necessary hearing skill in order to experience harmonic and counterpoint techniques and devices auditively.

    Fundamental Competence:

    The music examinee should be able to demonstrate an understanding of the following:
  • Primary and secondary triads.
  • Seventh and ninth chords.
  • Consonance.
  • Dissonance.
  • Voice leading.
  • Non-chord notes.
  • Diatonic.
  • Chromatic.
  • Cadences.
  • Tonality.
  • Modes.
  • Modulation.
  • Harmonic rhythm.
  • Chord progressions.
  • Borrowed chords.
  • Altered chords.
  • Four-part writing.
  • Two and three part textures.
  • Finite two part canon.
  • Theme and answer in fugue exposition.
  • Melody writing.
  • Setting words to music.

    3. Form in Music:

    Practical Competence:
  • The music examinee must have the necessary analytical skill so as to comprehend the plan, design and sequence of music.

    Fundamental Competence:

    The music examinee should be able to demonstrate an understanding of the following:
  • Units of form.
  • Part forms.
  • Rondo form.
  • Variation form.
  • Forms in polyphonic style.
  • Sonata allegro form and its variations.
  • The complete sonata.
  • Overture.
  • Suite.
  • Free forms.

    4. History of Music:

    Practical Competence:
  • The music examinee must have the necessary cronological approach to visualise growth in the different kinds of music.

    Fundamental Competence:

    The music examinee should be able to demonstrate an understanding of the following:
  • The general characteristics and contributions to important musical genres by the most important composers of the Renaissance, Baroque, Classical and Romantic periods and the Twentieth Century.

    Critical Cross-Field Outcomes:
  • It is assumed that music examinees for the Diploma: Performer's Licentiate: Music (UPLM) have gone through these processes in preparation for the examination concerned.
  • Achievement of associated assessment criteria involved is on the standards and levels of NQF Level 7.

    1. The music examinee can identify, analyse and solve musical problems of a technical and expressive nature.

    2. The music examinee can perform effectively as a member of a musical group (ensemble, choir, band, orchestra, etc), choral director, band director or accompanist.

    3. The music examinee can organise and manage their study and regular practise sessions responsibly and effectively.

    4. The music examinee can successfully collect, analyse, organise and critically evaluate musical information with reference to temporal, tonal, timbre-dynamic, textural, formal and historical elements.

    5. The music examinee can communicate effectively by using visual, listening and kinesthetic skills.

    6. The music examinee can use the science and technology of music effectively.

    7. The music examinee can recognise that music does not exist in isolation, but is part of the cultural and aesthetical values in every community context.

    8. The music examinee can explore a variety of strategies to learn more effectively and to critically perform the basic music activities namely listening, analysis, practical playing and written work.

    9. The music examinee can respond to local needs of a community regarding public performance which ensures participation in humane civilization.

    10. The music examinee can appreciate and understand own and others' cultures through playing and analysing repertoire of all periods, styles, forms and cultures.

    11. The music examinee can explore career opportunities in musical contexts.

    12. The music examinee can establish their own performance/ensemble groups according to the need of the society concerned showing entrepreneurial skills. 
    		•

    ASSOCIATED ASSESSMENT CRITERIA 
    Associated Assessment Criteria for Exit Level Outcome 1:

    The music examinee should demonstrate the ability to control the following:
  • Technical skills: Accuracy, fluency, speed, intonation, breathing, vibrato, timbre, diction, bowing, embouchure formation, coordination.
  • Expressive skills: Form, phrasing, textures, timing, dynamics, articulation, expression of character and mood, communication (presentation, projection, individuality).

    Associated Assessment Criteria for Exit Level Outcome 2:

    The music examinee should:
  • Identify the elements which contribute to the tonal organisation in music.
  • Analyse the vertical chord as organisational principle for composition.
  • Make connections between the linear aspects as well as the harmonic aspects of music.
  • Analyse the interdependent nature of melodic, rhythmic and harmonic motion contributing to an effective whole.
  • Emphasize auditive aspects.
  • Display consciousness and taste for sound.

    Associated Assessment Criteria for Exit Level Outcome 3:

    The music examinee should:
  • Analyse the fundamental and basic principles of orga-nisation and structure in music.
  • Explain the development of form types with regard to history and style.
  • Explain the functions and requirements of form, to enhance musical perfor-mance.
  • Explain the relationship between musical techniques and expressive values in music.
  • apply analysis, evaluation and appreciation techniques that will enhance musical performance and listening.

    Associated Assessment Criteria for Exit Level Outcome 4:

    The music examinee should:
  • Recognise the historical characteristics in a composition and explain the contribution of the different composers to each style period.
  • Display a broader taste to experience additional types and styles of music.
  • Relate representative compositions to the musical style, sociological aspects and cultural trends of the historical period concerned.
  • Select listening experiences judiciously.

    Critical Cross-field Outcomes:

    Associated Assessment Criteria for Critical Cross-field Outcome 1:
  • Take decisions to solve musical problems.
  • Develop judgement by making musical decisions.
  • Display critical thinking to solve musical problems.
  • Display creativity in the solution of these problems.
  • Relate technical skills to musical expression and vice versa.

    Associated Assessment Criteria for Critical Cross-field Outcome 2:
  • Comply with score requirements.
  • Show technical competency.
  • Recognise music making as a form of collective expression.
  • Communicate and perceive the meaning of the contents of different compositions.
  • Demonstrate understanding for the effect of context and audience purpose on performance and presentation.
  • Follow instructions as member (ensemble, choir, band, etc.) or accompanist.
  • Give instructions as conductor or accompanist (choir, ensemble, band, etc).
  • Listen for balance, precision, tone, blending and dynamics.

    Associated Assessment Criteria for Critical Cross-field Outcome 3:
  • Render a rounded off performance and interpretation of a composition.
  • Show progress in complexity and range through increased levels of technical and expressive competence.
  • Assess their own strengths and weaknesses and work to improve their technical and musical abilities.
  • Fixate through practice to attain greater control.

    Associated Assessment Criteria for Critical Cross-field Outcome 4:
  • Read musical notation accurately.
  • Make judgments as to creative interpretation appropriate to contexts.
  • Interpret the interpretation markings of music (original and by edition).
  • Form musical concepts and develop musical insight.
  • Use other resources effectively to enhance interpretation (libraries, dictionaries, recordings, etc).
  • Demonstrate awareness of musical conventions.
  • Critically analyse performances of self and others.
  • Hear inwardly.
  • Listen to a wide variety of music with understanding and enjoyment.

    Associated Assessment Criteria for Critical Cross-field Outcome 5:
  • Display skill and judgement in listening and teaching.
  • Present a composition (through performance and/or notation) so that the character of a work is projected with confidence and individuality.
  • Performing from memory.
  • Connect fingering patterns to sound images.
  • Solve intonation and tone production problems through listening.

    Associated Assessment Criteria for Critical Cross-field Outcome 6:
  • Apply the technology of applicable instruments effectively so as to produce the required and typical tone quality.
  • Apply the technology of applicable instruments effectively so as to play with reliable intonation.

    Associated Assessment Criteria for Critical Cross-field Outcome 7:
  • Recognise contribution of various cultures and parts of society to musical genres, forms and styles.
  • Connect the abstract knowledge of musical theory to the reality of practical performance.
  • Put forth the role of music (through performance, teaching and appreciation) as a beneficial part of society.

    Associated Assessment Criteria for Critical Cross-field Outcome 8:
  • Explore music learning opportunities (playing from memory, playing by ear, improvisation, making arrangements, composing, etc).
  • Participate in shared performances (public and private).
  • Follow musical conventions.
  • Display awareness of own preferences.
  • Listen selectively and critically to radio and TV broadcasts.

    Associated Assessment Criteria for Critical Cross-field Outcome 9:
  • Raise awareness of musical benefits in the community.
  • Contribute to well-being of community through solo and group performance.
  • Encourage and participate in musical activity across cultures and communities.

    Associated Assessment Criteria for Critical Cross-field Outcome 10:
  • Display openness to own and others' culture through choice of musical repertoire.
  • Show openness to other cultures' music through attendance, support and appreciation.

    Associated Assessment Criteria for Critical Cross-field Outcome 11:
  • Participate in public performances (concerts, eisteddfods etc) as instrumentalist, singer, group member, accompanist or conductor.
  • Make connections between theory and practical work for the examination and performance in real life situations.
  • Identify and use the musical skills which are valued in the workplace (hearing skills, etc).

    Associated Assessment Criteria for Critical Cross-field Outcome 12:
  • Create job opportunities through performance, accompanying, conducting and composing.
  • Show realistic awareness of own worth and value as performer, accompanist, conductor and composer.
  • Think flexibly of music-related jobs to benefit society (e.g. music teachers, music therapy, musicology, etc).

    Integrated assessment appropriately incorporated to ensure that the purpose of the qualification is achieved:

    Formative Assessment:

    It is assumed that learning and assessment are integrated by the self provided facilitator of learning.

    Summative assessment:

    Tuition is not provided by the Directorate Music, Unisa, but must be arranged privately with a qualified facilitator of learning. Summative assessment is provided and conducted by the Directorate Music, Unisa to ensure that the purpose of the qualification is achieved. 
    		•

    INTERNATIONAL COMPARABILITY 
    N/A 

    ARTICULATION OPTIONS 
    Music examinees with related credits from other universities may be exempted from Theory of Music grade 7, which is the prerequisite Theory of Music examination for the Licentiate examination concerned. 

    MODERATION OPTIONS 
    External/Internal examiners set papers and assess examinations. In addition, the Director (Professional), Directorate Music, Unisa acts as moderator for all theoretical and practical examinations. 

    CRITERIA FOR THE REGISTRATION OF ASSESSORS 
    Qualified assessors for Practical and Theoretical (written) examinations are contracted by The Director (Professional), Directorate Music, Unisa from the best pool of professional Music Educators/Practitioners countrywide on an annual basis. 

    REREGISTRATION HISTORY 
    As per the SAQA Board decision/s at that time, this qualification was Reregistered in 2009; 2012; 2015. 

    NOTES 
    This qualification was originally captured on the NQF as "Diploma: Performer's Licentiate: Music (UPLM) (Practical - any instrument and singing)". The title was changed on UNISA's request, in accordance with how it has been known for more than 100 years, which is also recorded at the Department of Education. 

    LEARNING PROGRAMMES RECORDED AGAINST THIS QUALIFICATION: 
     
    NONE 


    PROVIDERS CURRENTLY ACCREDITED TO OFFER THIS QUALIFICATION: 
    This information shows the current accreditations (i.e. those not past their accreditation end dates), and is the most complete record available to SAQA as of today. Some Primary or Delegated Quality Assurance Functionaries have a lag in their recording systems for provider accreditation, in turn leading to a lag in notifying SAQA of all the providers that they have accredited to offer qualifications and unit standards, as well as any extensions to accreditation end dates. The relevant Primary or Delegated Quality Assurance Functionary should be notified if a record appears to be missing from here.
     
    1. University of South Africa 


    All qualifications and part qualifications registered on the National Qualifications Framework are public property. Thus the only payment that can be made for them is for service and reproduction. It is illegal to sell this material for profit. If the material is reproduced or quoted, the South African Qualifications Authority (SAQA) should be acknowledged as the source.