On 20 September 2019 in Cape Town, as part of the global protests on inaction on climate change, the African Climate Alliance submitted a memorandum of demands to South African government representatives, one of which was ‘the creation of a mandatory climate-education curriculum for South Africa’. This raises the question of how this imperative would be met within a tertiary music education context. Does the justified insistence on decolonised curricula in the period following the national #FeesMustFall protests of 2015–2016 allow space for inclusion of climate education? Given the links between social justice and environmental justice, there is certainly an argument for a focus on eco-literate education. What, then, would this include at South African tertiary music level? There are several (mostly United States based) course syllabi available online which focus mainly on themes and case studies in the field of ecomusicology. Daniel J. Shevock’s work on eco-literate music pedagogy strongly advocates for a place-based approach, but Greg Garrard’s critique would indicate otherwise. This article examines eco-critical and eco-literate theories and their application to music and uses the author’s own teaching context to outline ideas for integrating a more climate-related educational approach.

2019 年 9 月 20 日在开普敦，作为全球对气候变化不作为抗议活动的一部分，非洲气候联盟向南非政府代表提交了一份要求备忘录，其中之一是“为南非'。这就提出了一个问题，即如何在高等教育音乐教育环境中满足这一要求。在 2015-2016 年全国 #FeesMustFall 抗议活动之后的时期内，对非殖民化课程的合理坚持是否为纳入气候教育提供了空间？考虑到社会正义和环境正义之间的联系，关注生态素养教育当然是有争议的。然后怎样呢，这包括南非的高等教育水平吗？网上有几个（主要是美国的）课程大纲，主要侧重于生态音乐学领域的主题和案例研究。Daniel J. Shevock 在生态文学音乐教学法方面的工作强烈提倡基于地点的方法，但 Greg Garrard 的批评则表明并非如此。本文考察了生态批判和生态文学理论及其在音乐中的应用，并使用作者自己的教学背景来概述整合更多与气候相关的教育方法的想法。