A case for a revival of tonic sol-fa in the twenty-first century

The Tonic Sol-fa method of teaching singing was developed in England by John Curwen over a period of forty years from the 1840s until the 1870s. Although originally an aid to reading staff notation, the J 872 Standard Course saw staff notation dispensed with altogether in favour of its own notational system. By the end of the century it had spread from Britain to Australia, New Zealand, South Africa, Canada, the United States, India, China, Japan and the Pacific Islands. However, largely due to its notational isolation, Tonic Sol-fa declined markedly during the early twentieth century. Except for the incorporation of certain aspects into the Kodaly method, it has largely disappeared from contemporary music teaching practice. Surprisingly, however, Tonic Sol-fa in its nineteenth century form is presently "alive and well" in certain developing countries in Africa, Asia and the Pacific. This paper will present an analysis of Tonic Sol-fa and evaluate its characteristics in terms of contemporary pedagogical and notational theory. The paper will then report on the current use of Tonic Sol-fa in developing countries and it will be argued that, in certain of these countries, this nineteenth century teaching method and notational system has not only survived but has indeed flourished. It will be argued that, in at least one case, Tonic Sol-fa has been "indiginised" so that it has not only become an integral part of the musical culture but also has become part of the social fabric of the country. The case will be put for a revival of Tonic Sol-fa in developing countries where, for social, economic and educational reasons, an alternative model to that utilised in more highly developed countries may be more successful/ in promoting school and community choral music.

Tonic sol-fa in South Africa : a case study of endogenous musical practice

Tonic Sol-fa was introduced to South Africa during the mid nineteenth century initially by Christian missionaries and later by professional educators to schools, teacher training institutions and local communities. Despite Tonic Sol-fa being the principal means of formal pedagogy and the most commonly-accepted notational medium through which South African communities have developed and sustained what is unquestionably a vibrant choral music tradition, there has been some fairly forthright condemnation of the overall effects of European music - particularly tonal-functional harmony - on indigenous culture. Agawu (2003) and Nzewi (1999), for example, have identified what they describe as the adverse effects of European music on African culture.

This paper counters these criticisms in one respect. It argues that, as one of the most prominent manifestations of European musical culture in sub-Saharan Africa, Tonic Sol-fa represents what Ntuli (2001) identifies as endogenous knowledge - knowledge acquired from non-indigenous sources that has been assimilated and integrated with indigenous knowledge to become the collective heritage of a people. This contention is supported by four short case studies of indigenous South African composers - two past and two contemporary musicians - who have utilised Tonic Sol-fa in their choral music writing and teaching, albeit in differing ways. The paper aims to counter the general criticism that European music has been injurious to indigenous African culture; rather it argues that in reality this manifestation of European music represents an exemplar of endogenous knowledge.

Missionaries, music and method - dissemination of tonic sol-fa in Asia-Pacific countries during the nineteenth century

The Tonic Sol-fa method of teaching choral singing and its system of music notation was developed in England by John Curwen and propagated throughout the British Isles as a means of both enhancing Christian worship and achieving social reform. Tonic Sol-fa may be identified as an entirely foreign musical practice introduced to indigenous people in many British colonies and in other overseas countries during the nineteenth century as an instrument of Christian evangelism as well as of European cultural imposition. Nevertheless, indigenous communities were introduced to other aspects of European musical culture including a choral repertoire consisting of four-part hymnody and masterworks by Handel, Bach, Mozart, etc which sometimes resulted in the emergence of a school of indigenous composers writing in Tonic Sol-fa notation and using the tonal harmonic style. The result has been that in several countries-such as South Africa and Fiji for example-Tonic Sol-fa has been so fully assimilated into the ethnic culture that it has been "indigenized" and may now be said to represent a significant exogenous aspect of the musical culture in these countries.

Tonic Sol-fa was most commonly introduced to countries in the Asia-Pacific Region -as in Africa - by Christian missionaries who sought to exploit the attraction of hymns, particularly when sung in four-part harmony, as a means of evangelizing indigenous people who frequently regarded this aspect of missionary activity as a form of "magic". In particular, the Tonic Sol-fa method and notation gained a significant foothold in what were referred to as the South Sea Islands--especially in Fiji where today, the Fijian Hymn Book (1985 edition) is notated exclusively in Tonic Sol-fa. The vast majority of the Fijians are literate in Tonic Sol-fa notation and congregational singing in four parts is the norm in Fijian churches.

This paper will draw on data from nineteenth century journal sources, particularly The Tonic Sol-fa Reporter (1853-1888) and The Musical Herald (1889-1920), and will document the introduction and dissemination of Tonic Sol-fa in several Asia-Pacific countries where, unlike Australia and New Zealand, the indigenous population has maintained its own cultural and demographic predominance. Countries to be considered will include India, China (including Hong Kong), and Pacific Island nations. There will also be a consideration of the contemporary usage and applications of Tonic Sol-fa in the region, with specific reference to Fiji. It will be argued that countries where Tonic Sol-fa notation has become the norm should resist any external pressure to transfer to the standard staff notation merely for the sake of conformity. In the case of Fiji, almost universal music literacy has been achieved through Tonic Sol-fa and this should be recognized as an enviable social and cultural asset.

Tonic Sol-fa in contemporary choral music practice : a South African case study

The Tonic Sol-fa method of teaching choral singing was propagated throughout Britain during the nineteenth century with the dual objectives of enhancing Christian worship and achieving social reform. It was then imported to South Africa where it was introduced to indigenous people principally through Christian missionary activity and government schools. Although entirely of foreign origin, Tonic Sol-fa was so fully assimilated into African culture that it became effectively 'indigenised'. Due to its widespread use, it became the mainstay of community choral singing and may now be said to represent a significant exogenous aspect of present-day South African musical identity. However, there is little documentation regarding the type and extent of its use in contemporary choral music practice.

This paper will report on the use of Tonic Sol-fa in representative present-day choral music settings. Interview data collected from choir directors, trainers and teachers in Cape Town indicate that there is far from unanimous agreement on several aspects - in particular, the future of Tonic Sol-fa as a pedagogy and notational system. Improving educational opportunities for indigenous South Africans to undertake professional training in music are now threatening the traditional dominance of Tonic Sol-fa in indigenous culture. Nevertheless this research represents a useful case study of the continuing relevance of Tonic Sol-fa to an indigenous population who have 'made it their own' and developed a vibrant choral tradition which continues to both enrich and sustain their lives.

Hydroxyapatite/titania sol-gel coatings on titanium-zirconium alloy for biomedical applications

A simple sol–gel method was developed for hydroxyapatite/titania (HA/TiO2) coatings on non-toxic titanium–zirconium (TiZr) alloy for biomedical applications. The HA/TiO2-coated TiZr alloy displayed excellent bioactivity when soaked in a simulated body fluid (SBF) for an appropriate period. Differential scanning calorimetry, thermogravimetric analysis, X-ray diffraction and scanning electron microscopy-energy dispersive spectrometry were used to characterize the phase transformations and the surface structures and to assess the in vitro tests. The HA/TiO2 layers were spin-coated on the surface of TiZr alloy at a speed of 3000 rpm for 15 s, followed by a heat treatment at 600 °C for 20 min in an argon atmosphere sequentially. The TiO2 layer exhibited a cracked surface and an anatase structure and the HA layer displayed a uniform dense structure. Both the TiO2 and HA layers were 25 μm thick, and the total thickness of the HA/TiO2 coatings was 50 μm. The TiZr alloy after the above HA/TiO2 coatings displayed excellent bone-like apatite-forming ability when soaked in SBF and can be anticipated to be a promising load-bearing implant material.

Sol-gel derived HA/TiO2 double coatings on Ti scaffolds for orthopaedic applications

Hydroxyapatite/titania (HA/TiO₂) double layers were coated onto Ti scaffolds throughout for orthopaedic applications by sol-gel method. Differential scanning calorimetry (DSC), thermogravimetric analysis (TG) and X-ray diffractometry (XRD) were used for the characterisation of the phase transformations of the dried gels and coated surface structures. Scanning electron microscope (SEM) equipped with energy dispersive spectrometry (EDS) was used for the observation and evaluation of the morphology and phases of the surface layers and for the assessment of the in vitro tests. The in vitro assessments were performed by soaking the HA/TiO₂ double coated samples into the simulated body fluid (SBF) for various periods. The TiO₂ layer was coated by a dipping-coating method at a speed of 12 cm/min, followed by a heat treatment at 600 °C for 20 min. The HA layer was subsequently dipping-coated on the outer surface at the same speed and then heat-treated at difference temperatures. The results indicat that the HA phase begins to crystallize after a heat treatment at 560 °C. The crystallinity increases obviously at 760 °C. SEM observations find no delamination or crack at the interfaces of HA/TiO₂ and TiO₂/Ti. The HA/TiO₂ coated Ti scaffolds displays excellent bone-like apatite forming ability when it is soaked into SBF. Ti scaffolds after HA/TiO₂ double coatings can be anticipated as promising implant materials for orthopaedic applications

Sol-gel derived hydroxyapatite/titania biocoatings on titanium substrate

A simple sol–gel method was successfully developed for a hydroxyapatite (HA)/TiO₂ double layer deposition on a pure titanium substrate. Phase formation, surface morphology, and interfacial microstructure were investigated by differential scanning calorimetry analysis (DSC), X-ray diffraction (XRD) and scanning electron microscopy (SEM). The TiO₂ layer was coated by a spin coating method at a speed of 1500 rpm for 15 s, followed by a heat treatment at 560 °C for 20 min. The HA film was subsequently spin coated on the outer surface at the same speed and then heat-treated at difference temperatures. Results indicated that the HA phase began to crystallize after a heat treatment at 580 °C; and the crystallinity increased obviously at a temperature of 780 °C. The HA film showed a porous structure and a thickness of 5–7 μm after the heat treatment at 780 °C. SEM observations revealed no delamination and crack at the interfaces of HA/TiO₂ and TiO₂/Ti. The HA film with a porous structure is expected to be more susceptible to the natural remodeling processes when it is implanted in a living body.

Photo-catalysis of red wine stains using titanium dioxide sol-gel coatings on wool fabrics

This paper investigated the use of titanium dioxide sol-gel coatings to photo-catalyse red wine stains on wool fabrics. Coatings were produced by the hydrolysis and condensation of titanium butoxide (Ti(OC4H9)4) on the surface of wool fabrics after pad application. Coatings were partially converted to the anatase form of titanium dioxide by prolonged immersion in boiling water. The coating presence was confirmed using scanning electron microscopy, UVspectrophotometry and atomic force microscopy. Coated samples were measured for photo-catalytic activity by degrading red wine stains from the surface of the coated fabric. The level of photocatalysis was determined for each of the coating systems after 168 hours. Red wine stains were photo-catalysed and level of staining was reduced from the UV exposed surface of the coated wool fabric.

Bioactivating the surfaces of titanium by sol-gel process

In the present study, titanium (Ti) samples were surface-modified by titania (TiO₂), silica (SiO₂) and hydroxyapatite (HA) coatings using a sol-gel process. The bioactivity of the film-coated Ti samples was investigated by cell attachment and morphology study using human osteoblast-like SaOS-2 cells. Results of the cell attachment indicated that the densities of cell attachment on the surfaces of Ti samples were significantly increased by film coatings; the density of cell attachment on HA film-coated surface was higher than those on TiO₂ and SiO₂ film-coated surfaces. Cell morphology study showed that the cells attached, spread and grew well on the three kinds of film-coated surfaces. It can be concluded that the three kinds of film coatings can bioactivate the surfaces of Ti samples effectively. Overall, Ti sample with HA film-coated surface exhibited the best bioactivity.

Bioactive hydroxyapatite coating on titanium-niobium alloy through a sol-gel process

Hydroxyapatite (HA) was coated on the surface of a titanium-niobium (Ti-Nb) alloy by a sol-gel process. Triethyl phosphite and calcium nitrate were used as the phosphorus (P) and calcium (Ca) precursors respectively to prepare a Ca/P sol solution. The Ti-Nb alloy was dip-coated in the sol and heated at 600°C for 30 minutes. X-ray diffraction (XRD) analysis indicated the major phase constituent of the coating after heat treatment was HA. Scanning electron microscopy (SEM) observation showed that a few cracks were distributed on the HA coating. The in-vitro bioactivity of the HA coated Ti-Nb alloy was assessed using a cell culture of SaOS-2 osteoblast-like cells. The density of cell attachment was determined by MTT assay; the cell morphology was observed by SEM. Results indicated that the density of cell attachment on the surface of the Ti-Nb alloy was significantly increased by HA coating. Cell morphology observation showed that cells attached, spread and grew well on the HA coated surface. It can be concluded that the HA coating improved the in-vitro bioactivity of Ti-Nb alloy effectively.

Photochromic wool fabric by sol-gel coating

This thesis investigates the possibility of producing photochromic wool fabrics using a silica sol-gel coating method. Silicas made from sol-gel methods are uniquely suited to host photochromic dyes for developing colour-changing wool. The achieved photochromic effects have opened a new product area for fashion effects on wool textiles.