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1
Skevk, Therese. „Art and Music Profile School“. Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.
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Bakan, Daniel Lowell. „Folk music, songwriting, art therapy and education in non-school settings“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0015/MQ45481.pdf.
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Alban, Peris Wyn. „Fiorello H. LaGuardia High School of Music and Art and Performing Arts: a history“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/10926.
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Thesis (D.M.A.)--Boston UniversityThe Fiorello H. LaGuardia High School of Music and Art and Performing Arts in New York City was formed through a merger of two existing arts high schools in 1961-- the High School of Music and Art and School of Performing Arts. Although the High School of Music and Art's history has been well documented, no studies have documented the histories of the School of Performing Arts and the Fiorello H. LaGuardia High School of Music and Art and Performing Arts. Therefore, this concise history of the development of the Fiorello H. LaGuardia High School of Music and Arts and Performing Arts in New York City fills a gap in current historical literature. Research questions focused on (1) the founding of the two independent performing arts high schools and their amalgamation into the Fiorello H. LaGuardia High School of Music and Art and Performing Arts; (2) key personnel and their role in facilitating the merger; (3) the shaping forces of the philosophies/missions/visions of the two independent high schools on the Fiorello H. LaGuardia High School of Music and Art and the Performing Arts; (4) how the music curriculum of the High School of Music and Art and School of Performing Arts helped shape the music curriculum of the Fiorello H. LaGuardia High School of Music and Art and Performing Arts, and (5) students' musical activities throughout the school's history. Research methodologies included consulting primary and secondary sources and interviewing former and current administrators, students, alumni, friends, and other key personnel from each of the three schools. I discuss music education challenges with implications for music educators and administrators, as well as political leaders and members of communities at large engaged in providing education at similar mis high schools. From the schools' rich independent beginnings to their turbulent transitional years, where the amalgamation and relocation took nearly a quarter century to complete, the school remains a model for subsequent specialized arts high schools in the nation.
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Hasajová, Zuzana. „ART & ARCHITECTURE - Kulturní stavba v Jižním Centru v Brně (Hudební centrum)“. Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2011. http://www.nusl.cz/ntk/nusl-215826.
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The new project in the path of park of New South Center of Brno would by Music center. The device reacts on new regulatives in zone. There is rising the building that prevents direct contact with unpleasant waves of trfic. The fort is so urban arms, in a pleasant thought cluster charmed quality music. Enter the building is accompanied by a pleasant park with urban furniture and modifications, and richness of perspectives uncovered through the viaduct . The main task is Synfonic hall with a capacity of 1300 pax, chamber hall for 280 guests and also small chamber hall for 100 people or future new musicians. The proposal was that the space did not work only during night-life concerts, but also during the day and more so approaching the world of music. Center includes a music school, shops and cafe in the next arm background staff and musicians. Response shapes based on urban morphology continue to the interior, and almost everywhere they appear irregular arms embrace in the lines and space. Architectural design features that expresses fuel building contains. Material for rendering takes hardness and white veined travertine Spis combined with warm interior textil in colors of royal blue, the complet of interior quality complement metalic elements and details with high gloss silver. Come into the embrace of music…
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Jimenez, Francesca M. „Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.
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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Blackman, Eldon. „The status of music education in secondary schools in Trinidad and Tobago| Perspectives from educational leadership“. Thesis, Temple University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3745857.
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The purpose of this study was to investigate principals’ perceptions of the status of music education in secondary schools in Trinidad and Tobago. The guiding questions were (a) What are secondary school principals’ perceptions of music learning outcomes as they are currently being met and as they should be met under ideal conditions, (b) What are secondary school principals’ perceptions of broad educational goals as they are currently being met and as they should be met under ideal conditions, (c) Is there a difference between principals’ perceptions of current and ideal conditions for the learning outcomes and the educational goals, and (d) What are secondary school principals’ perceptions about the degree to which eleven selected variables impact music education?
A descriptive research design was used in which secondary school principals (n = 93) were provided with the survey instrument. The survey is organized into four sections based on the questions that are derived from the research purpose and questions. Cronbach’s alpha was used to test for internal consistency of the survey items. Data, related to the first two guiding questions, was fielded via Likert-type scales where the responses represented the principals’ perceptions of the level of realization of the standards for the music learning outcomes and the broad educational goals. For the third guiding question, data analyses included repeated t-tests and Cohen d value measurements to describe differences between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. A Spearman correlation was used to describe the consistency between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. Chi-squared analyses, on the two open-ended questions presented to the principals, were used to examine the differences in how principals perceive certain factors affect their ability to support music programs.
Results from the repeated t-tests showed that principals believe there is a difference between how the music learning outcomes and broad educational goals are currently being met and how they should be met, under ideal conditions. Chi-squared analyses revealed that there were moderately positive associations between the current and ideal conditions, with the music learning outcomes yielding rs = .71 and the broad educational goals yielding rs = .65.; however, results were statistically significant only for the broad educational goals.
Chi-squared analyses revealed that there were no significant differences in the ways principals perceived how 11 variables (a) Medium-Term Policy Framework 2011-2014, (b) Students, (c) Parents, (d) Budget/Finances, (e) Scheduling, (f) Standardized tests, (g) School Board, (h) Governing Office/Ministry of Education, (i) Music Teacher, (j) Classroom Teacher, and (k) Educational and Scientific Research were impacting the music programs. Results showed that the principals were mostly inclined to remain neutral about the effects of most of the variables and that they did not consider any of the variables to either strongly positively or strongly negatively affect the music program.
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Damm, Robert J. 1964. „American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.
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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Sandberg, Julia. „"Är det inte dags nu att öva litegrann?" : En studie om föräldrars delaktighet i sitt barns musicerande på tvärflöjt“. Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85296.
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Studiens syfte är att synliggöra hur föräldrar upplever sin delaktighet i sitt barns musicerande på tvärflöjt. Studien är främst kvalitativ med pragmatismen som teoretisk utgångspunkt. I studien genomfördes och användes fyra halvstrukturerade intervjuer med föräldrar vars barn spelar tvärflöjt som underlag för analys. Studien använde sig också av en kvantitativ metod då en enkät användes för en närmare undersökning av fältet och som inspiration till intervjufrågorna. Enkäten vände sig till vårdnadshavare vars barn spelar tvärflöjt och besvarades av 64 personer. Resultatet visar att föräldrar upplever sin delaktighet i sitt barns musicerande genom att på olika sätt vara delaktig i barnets musicerande bland annat genom att visa intresse och lösa barnets problem som uppkommer i samband med musicerandet på tvärflöjt. Resultatet visar också att föräldrarna upplever utmaningar i att vara delaktig i sitt barns musicerande på tvärflöjt främst på grund av föräldrarnas musikaliska kunskaper men också tid och ork. Slutsatsen är att föräldrar upplever sin delaktighet som varierande i sitt barns musicerande men att deras attityd och uppfattning kring musik och barnets musicerande är genomgående positiv.The aim of this study is to make visible how parents experience their involvement in their kid’s flute playing. The study is a qualitative study with pragmatism as its theoretical framework. In this study four half structured interviews with parents whose kids play the flute was used as basis for the analysis. This study also used a quantitative method in the form of a survey that was used to examine the field and for inspiration for the interview questions. The survey was directed to parents whose kids play the flute and was answered by 64 parents. The result of this study shows that parents experience their involvement in their kid’s flute playing by being involved in different ways for example by showing interest and to solve their kid’s problems that arise when the kid is playing the flute. The result also shows that parents experience challenges in their involvement with their kids playing the flute mostly because of their limited musical knowledge but also because of lack of time and energy. The conclusion of this study is that parents experience their involvement in their kid’s flute playing as variated but that the parent’s attitude and perception of music and the fact that their kids are playing the flute is throughout positive.
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Bergseth, Heather A. „Music of Ghana and Tanzania: A Brief Comparison and Description of Various African Music Schools“. Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1312917493.
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Aulgur, Linda McKay. „First and second graders coming to know : the role of students and teachers in an expressive arts school /“. free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842507.
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Stewart, Stacy Marie. „Connecting to the Art Museum Through an Educational Workshop: A Case Study“. Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279036583.
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Cheung, Wing-him Edward. „HKU extension : Music & Fine Arts complex /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.
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Kim, Do Soo. „A Comparative Study of Junior High School General Music Programs Between Korea and the United States“. Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504491/.
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Sandh, Håkan. „Musik- och kulturskolornas ideologi ur ett bildningsperspektiv“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3242.
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In the years around 1950 the first Music Schools – organized by the municipalities – started in Sweden. They were a result of local initiatives. They were not a part of the national school system. Instead their focus was on creating opportunities for children to learn to play an instrument in their spare time. They became so common that in 1970 they could be found in almost every municipality in Sweden. Even so, they were never authorised or controlled by the state. In this thesis I try to describe the ideology of the first local music schools around the year 1950. I try to find out what kind of traditions, ideas and other influences that shaped this ideology. I do that by comparing the ideology of the music schools to the characteristics of the popular education (in German: Bildung). Thereafter I try to do the same with the development of Schools of Arts around the year 1990. I do that in a hermeneutic tradition by using an idea- and ideology analysis from social sciences. My research questions are: Could the ideologi of the first music schools be described by comparing it with the characteristics of ”bildung”. Could the ideologi of the first schools of Arts be described by comparing it with the characteristics of ”bildung”. The ideology of the music schools was strongly influenced by the voluntary music education in grammar schools. That meant that the education was organized in semesters, one lesson per week and one child at a time. More focus was on the development of every childs´ability to play an instrument, less on the possibility to play together with other children or to sing. The ideology of the music schools was also influenced by popular education (Bildung). The schools aimed to give equal opportunities to all children to learn to play an instrument and learn about the ”good culture”. With that expression was meant classical music. The answer to my first question is that the ideologi of the music shools were influenced both from grammar schools and the ”bildung”- movement. In the years around 1990 many Music Schools had developed into Schools of Arts. They included education in dance, drama/theatre, visual art and film/movie. In the same way as the first music schools were born, the first Schools of Art developed in a local context. Some of them found a closer cooperation with the obligatory school but all continued to be independent. The structure of Schools of Arts were in many ways a continuation of the music schools. They were also organized in semesters, one lesson a week etc. In the same time they were a part of the a new trend which meant they were more interested in the creative possibilities for the children, cooperation and the opportunities to be on stage. They also had a broader wiew on what ”good culture” was. The answer on my second question is that the ideologi of the Schools of Arts in some extent are a part of the ”Bildung”-movement but at the same time they are more focused in collaborating with the obligatory school system and are more influenced by instrumental goals like being part of devolopment of new industries in the society. To some extent they are less influenced by ”Bildung” than the first music Schools. There are even today more than 200 000 children taking part in the Schools of Arts. (Including those who are still named Music Schools) In such a big professsionel organisation in most of the Swedish communities it is very surprising that they have developed without a national agenda.I slutet av 1940-talet bildades de första kommunala musikskolorna med det namnet. Deras bakgrund var dels den frivilliga instrumentalundervisning som erbjöds på läroverken, privat undervisning – inte minst på piano – samt undervisning inom militärmusiken och orkesterföreningar. Allt detta smälte samman till musikcirklar – ofta drivna av studieförbund – som sedan nästan undantagslöst drevs vidare i form av kommunala musikskolor. De lokala variationerna var många. På 1970-talet hade i stort sett alla kommuner en kommunal musikskola. I denna uppsats försöker jag beskriva de första kommunala musikskolornas ideologi runt år 1950, och sedan även beskriva de första kommunala kulturskolornas[1] ideologi runt år 1990. Detta gör jag genom att tolka de idéer, traditioner och ambitioner som kan ses i offentliga dokument, vetenskapliga texter och andra dokument som beskriver pedagogiska idéer som fanns och påverkade beslutsfattandet. Jag gör detta i en hermeneutisk tradition genom en idé- och ideologianalys hämtad från samhällsvetenskapen. Metodiskt arbetar jag med begreppet dimensioner. Dessa utgår från de begrepp som karakteriserar bildning. På så sätt använder jag bildningen som ett raster för att tydligare se musikskolornas och kulturskolornas respektive ideologi. Mina forskningsfrågor är: Kan de första kommunala musikskolornas ideologi beskrivas i relation till bildningsbegreppet? Kan de första kommunala kulturskolornas ideologi beskrivas i relation till bildningsbegreppet? Bildningsbegreppet jag använder är hämtat från Gustavssons och Varkøys beskrivningar av vad som kännetecknar bildning: Lärandet är en fri process Lärandet skapar sammanhang Lärandet skapar jämlikhet eller ojämlikhet Lärandet är icke-instrumentellt Organisationen av undervisningen på musikskolorna var starkt präglad av läroverken. Den innebar att musikskolorna var organiserade i terminer, en lektion i veckan och med starkt fokus på individen. Den enskilde elevens kunskaper i hanterandet av sitt instrument kom i första rummet, före samspel, eget skapande och även sång/körsång. Den ideologi som präglade musikskolorna hade samtidigt ett starkt folkbildande inslag. Alla barn skulle i demokratisk anda få möjlighet att både lära sig spela ett instrument och ta del av den goda kulturen. Med det senare avsågs främst den klassiska musiken. Svaret på min första forskningsfråga är att de första musikskolornas ideologi i hög grad var påverkad av bildningsbegreppet men att den samtidigt var starkt påverkad av traditionen från läroverk och folkskola. De kommunala kulturskolorna övertog senare mycket av musikskolornas ideologi. Samtidigt var ideologin i den tidens anda präglat av ett större intresse för elevernas eget skapande, för samverkan och att alla elever också skulle framträda. Flera kulturskolor sökte också få en ökad betydelse genom ett närmande till den obligatoriska skolan. Deras ideologi präglades också i hög grad av instrumentella mål som transfereffekter vid inlärning av andra skolämnen, lokaliseringsfaktorer m.fl. Svaret på min andra forskningsfråga är att de första kommunala kulturskolorna ideologiskt i viss mån var en del av bildningsrörelsen. Samtidigt önskade de bli en del av det obligatoriska skolväsendet och motiverade sin existens med instrumentella mål, varför de kan sägas alltmer ta avstånd från att bygga på en ideologi präglad av bildning. Med tanke på musik- och kulturskolorna storlek, över 200 000 deltagare, är det förvånande att all utveckling av dem skett genom lokala initiativ och att samordning och utveckling på nationell nivå i stort sett varit helt frånvarande under de epoker jag berör i denna uppsats. De kommunala musikskolorna, senare kulturskolorna, dominerades av ett görande, av enskilda lärares egna modeller för undervisning, i högre grad än formulerande av en genomtänkt ideologi eller för den delen metodik. [1] De kommunala kulturskolorna benämns oftast som ”kulturskolor”. I den statliga politik som beslutats under uppsatsens tillkomst benämns de som ”kommunala kulturskolor”. Jag använder därför det begreppet men för att göra texten lättare att läsa använder jag ibland de enklare formerna ”musikskola” och ”kulturskola”. De står för samma sak.
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Single, Nancy Ann. „An arts outreach/audience development program for schools of music in higher education“. The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392911317.
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Tan, Penny Peng Leng. „Music education in the knowledge-based economy of Singapore : designing a music curriculum framework for neighbourhood secondary schools“. University of Western Australia. Graduate School of Educationd%695 Electronic theses, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0240.
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Education in Singapore is seen as a key instrument to equip the next generation with resources to meet the needs of a Knowledge-Based Economy in a globalize world. The goal of this study is to develop a Music Education Curriculum Framework consistent with a Knowledge-Based Economy (KMCF) for Singapore neighborhood secondary schools. It provides the general context of music education in Singapore and conducts research to reveal the perspectives of key cross-sector stakeholders in music education, namely: The Ministry of Education (MOE) music and curriculum planning and development officers, National Institute of Education music academics, principals, general classroom music teachers and over 600 students. The curriculum framework will focus on the desirable qualities of Knowledge-Based Economy (KBE), particularly creativity, innovation, risk-taking, entrepreneurship and lifelong learning which have been strongly emphasized by the Singaporean government. In the light of their vision of thinking Schools, Learning Nation, the Ministry of Education is repositioning and reorienting the education system by implementing numerous initiatives and policies. The intention is to foster flexibility and diversity in a broad-based and holistic education, but the main focus to date has been on information technology, problem-solving and core subjects rather than on the creative aspects of the arts. By surveying students, this research aims to find out to what extent students find their music lessons satisfactory and whether their perspectives is compatible with those of other stakeholders. Students generally do not take music seriously, and the public perception is that a music career is limited to performing and teaching. The model curriculum framework will indicate further related careers, and the personal growth that comes through a genuine engagement with music. The Ministry of Education controls the school curriculum, structure of education, examinations, teacher qualifications and conditions of service. In 2005 it initiated a Teach Less, Learn More initiative which promoted student engagement. However, despite the rhetoric of classroom-based, teacher-owned and school-driven learning, it did not consult teachers or students and therefore failed as a vital learning organization which involved all participants in deciding future directions. For Senge (1994, p.13), a learning organization is a place where people are continually discovering how they create their reality. The curriculum design is an example of an example of an open system which this thesis addresses the issue of providing a structured programme flexible enough to adapt to contextual needs while providing the standards and outcomes needed in a competitive knowledge-based economy. This thesis makes its original contribution to knowledge by applying an open system model from organisational theory to a conventional music curriculum.
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Caesar, Michael, und n/a. „The processes used by high school music instrumentalists when improvising music and the factors which influence those processes“. University of Canberra. Education, 1999. http://erl.canberra.edu.au./public/adt-AUC20050214.143037.
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The purpose of this study was to build upon the growing body of knowledge relating to music improvisation by investigating the processes used by high school music instrumentalists when improvising music and the factors that influence those processes.
Many factors contribute to music improvisation skill and they must all be taken into account when investigating the music improvisation processes of high school music students. The theoretical framework of this study was based on the complex interactions that take place simultaneously between three identified ensembles of factors. The three ensembles of factors were:
I . The student profile which included general information and detailed aspects of prior music experience.
2. Enabling skills which included audiation ability, the ability to play music by ear and kinaesthetic abilities.
3. Improvisation processes including, creative processes, cognitive strategies and group or solo contexts for music improvisation.
Taking into account the exploratory nature of this study, the single embedded case study design, involving 12 high school music instrumentalists aged between 13 and 15 years, offered the necessary potential to cope with the wide variety of evidence.
The formal survey was used to gather information that would establish a detailed profile of each student. The Test of Ability to Audiate and Ability to Play by Ear (TAAAPE) was used to measure students' ability to audiate and play music by ear. Similarly, in order to explore the relationships between improvisation processes,
enabling skills and the profile of each student, the Improvisation Ability Test (IAT) was used. This test provided authentic music improvisation experiences in both group and solo contexts. Both tests were scored by two independent judges and the researcher. Finally, the focused interview was used to establish the cognitive
strategies used by the students when undertaking the various music improvisation tasks.
The ability of the case study design to handle both qualitative and quantitative data
proved to be useful in this study. Two major findings emerged from the analysis of
the data:
1. The first was that the processes used by this small group of students when engaged in music improvisation were unpredictable.
2. The second major finding relates to evidence that supports the theory of an interaction between the three ensembles of factors as presented in the theoretical framework of this study. However, contrary to what might have been expected, the study further indicated that the interaction of these factors, in the context of
the music improvisation processes used by these individual students, did not follow or produce any specific patterns.
It was not within the scope of this study to seek the emergence of a model for teaching music improvisation to high school music instrumentalists. However, it has opened the path for further research which could result in the development of such a model.
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Cheung, Wing-him Edward, und 張穎謙. „HKU extension: Music & Fine Arts complex“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986341.
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Herring, Michelle Limor. „Middle School Choir Directors’ Perceptions and Applications of Multicultural Music Education“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804861/.
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The purpose of this descriptive study was to discover Texas middle school choir directors’ perceptions and applications of multicultural education in their classrooms. Three research questions guided this investigation: (1) What were middle school choir director’s perceptions about multicultural music education?; (2) How did middle school choir directors apply multicultural music pedagogy in their classrooms?; and (3) How did middle school choir directors perceive professional development opportunities in multicultural music education? Texas middle school choir directors perceived that the purpose of multicultural music was to expose students to different cultures and diverse worldviews through music. Teachers listed several social and musical benefits of studying multicultural music including broadening musical horizons, cultural appreciation, and expansion of student worldviews. Teachers consciously programmed multicultural music for most of their concerts, and some chose literature based on their students’ cultural backgrounds. Although most teachers tried to make multicultural music experiences genuine for students, authenticity was the foremost pedagogical concern regarding multicultural music pedagogy. Teachers tended to utilize a combination of music concept and sociocultural approaches when teaching multicultural music by comparing multicultural music to Western music and using classroom discussions to discuss social issues that lend context to the music. Professional development opportunities in multicultural music education were available through the state music organization (TMEA), but rarely at the district or the campus level. Teachers also reported opportunities at the national level for professional development.
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Hogan, Jillian. „Ensemble Habits of Mind: Which are Taught (and Not Taught) in High School Music“. Thesis, Boston College, 2021. http://hdl.handle.net/2345/bc-ir:109221.
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Thesis advisor: Ellen WinnerPublic polling and anecdotal evidence suggests that the general public greatly values music education. I argue that this is not because of content, discipline-specific skills like reading music notation or playing the trumpet, but because of the generalizable habits of mind, or broad thinking dispositions, that teachers teach in ensembles. Through analysis of systematic observation and interview data from multiple rehearsals of six band, choir and orchestra ensembles, eight Ensemble Habits of Mind emerged: Evaluate, Express, Imagine, Listen, Notice, Participate in Community, Persist, and Set Goals & Be Prepared. Using methodology similar to that of parallel work identifying Studio Habits of Mind in visual arts education (Hetland et al., 2013), this study shows many similarities between habits of mind in the two disciplines. However, two habits of mind that were specifically sought out in observations because they are frequently reported in advocacy arguments, Use Creativity and Recognize More than One Correct Answer, were not observed even under broad inclusion criteria. Suggestions are given for the practical application of these findings and discussion of how this framework can simultaneously support the good thinking happening in traditional large ensembles while bolstering rationale that informal music learning and other means of student-centered music making should be included in music programs in order to advance students’ creative thinking and tolerance for ambiguity
Thesis (PhD) — Boston College, 2021
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Psychology
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O'Loghlin, Michael. „The Viola da gamba music of the Berlin School, 1732-1772 /“. [St. Lucia, Qld.], 2002. http://adt.library.uq.edu.au/public/adt-QU20021223.153129/index.html.
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Nilsson, David. „Musik- och Kulturskolans framtid… : En kvalitativ studie om musiklärares och rektorers tankar om dagens och framtidens musik- och kulturskola“. Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8724.
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Den här undersökningen syftar till att få en djupare förståelse för hur musik- och kulturskolans verksamhet kan se ut i framtiden. Jag vill få en inblick i vilka faktorer som påverkar utvecklingen av den kommunala musik- och kulturskolan, samt hur musik- och kulturskolan väljer att förhålla sig till dessa faktorer. För att undersöka detta har jag använt mig av kvalitativ intervju som forskningsmetod för att därigenom få fram fyra instrumentallärares och tre musikledares tankar och erfarenheter.Resultatet visar på flera faktorer som påverkar förväntningarna på den kommunala musik- och kulturskolan varav de mest framträdande är media, musikaliska trender, sociala faktorer och elevernas förväntningar på undervisningen. Dessa faktorer påverkar musik- och kulturskolan både som organisation och verksamhet, men också själva undervisningen. Bland annat visar undersökningen att musik- och kulturskolan behöver förhålla sig till att dagens elever har nya uppfattningar om vad det innebär att musicera och att lära sig spela ett instrument. Många lärare beskriver att elever sällan förstår att de måste öva på sina instrument för att lära sig spela. Resultatet visar också att musik- och kulturskolans ledning idag jobbar mer för att skapa en utåtriktad verksamhet, vilket man också sannolikt kommer att behöva göra i framtiden.En slutsats i undersökningen är att musik- och kulturskolans verksamhet idag behöver ha en bred och mångfasetterad verksamhet vad gäller både instrument, repertoar och undervisning för att möta dagens elever. En annan slutas är att grundambitionen att bilda folket i musik, har ändrats till att ge alla barn en möjlighet att utvecklas med musik.This study aims for a deeper understanding in how the community school of music and art will develop in the future. I would like to decide which factors influence the development of the community school of music and art, and how the school chooses to approach these factors. Four instrumental teachers and three music leaders have been interviewed.The results indicate factors that influence the expectations of the community school of music and art, of which the most prominent are media, musical trends, social factors and the student’s expectations on the education. These factors exert influence on the community school of music and art, both as an organization and as a productive activity, as well as the education. Furthermore, the study demonstrates that the community school of music and art must approach students with new views, on what it means to play and learn an instrument. The teachers point out that the students seldom understand that it is necessary to practice to learn how to play their instruments. The result also shows that management at3the community school of music and art is working to create a more expansive business, which will continue into the future.One conclusion of the study, is that the community school of music and art of today, needs to have a wide productive activity in regard to meeting the students’ need concerning instruments, repertoires and education. Another conclusion is that the basic ambition to educate people in music, has given way to provide all children a possibility to develop through music.
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Alves, Elder Pereira. „A música nas escolas de Mossoró-RN: um estudo junto à rede municipal de ensino“. Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6606.
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The discussion about the music teaching on elementary school has been emphasized over last decades, having the significant absence of the music on the school curriculum in mind. Several aspects have been contributing to this absence, such as the formation of the art/music teachers who act straightly in this context, the problems related to the Educational Legislation in Brazil, wrong conceptions about the music teaching, among others. However, during 2008, through the Law number 11.769 that changes the current LDB, the music is set up as mandatory content of the Art curriculum and it must be effectively present in the basic Brazilian education up to August 2011. Having in mind this scenery, the interest of investigating how the music teaching is found at schools in Mossoró-RN came out, specifically in the municipal teaching system of the city. This way, the work objective aimed to analyze and discuss about the current situation of the music teaching, while it is a mandatory content of the Art curriculum at schools of the municipal teaching system in Mossoró-RMEM. Try to identify the teacher‟s formation that is related to Art, the quantity of teachers who work with music and subjects related to the formation and their musical experiences were the specific objectives. It also aimed to analyze the musical education conceptions and practices developed by these professionals. The work has a qualitative-quantitative methodological approach, providing a wide-ranging vision of the reality analyzed through a quantitative inquiry, as well as a deeper analysis through a qualitative appreciation. The investigation was based through a bibliographical study that contemplated the production of Musical Education, Art, Education and similar areas. The field work was made real through the application of questionnaires, semi-structured interviews, participant observation and video recorders. From the realization of this study, it was possible to verify that most of the Art teachers included in this context have no formation related to Art and Music. In spite of this fact, most of these professionals work with music teaching. In general form it was possible to be noticed that the formation of these teachers has been making the musical-educative development of his practices more difficult. However, it was verified through the acting of these teachers that the music has potentialities in order to be present in an effective and systematic way in this educational context. Finally, which it is possible to show up from the realization of this investigation is the urgent necessity of the Art teacher‟s formation at RMEM.
As discussões sobre o ensino da música na educação básica têm sido bastante enfatizadas nas últimas décadas, tendo em vista, principalmente, a significativa ausência da música nos currículos escolares. Diversos aspectos têm contribuído para essa ausência, tais como a formação dos professores de arte/música atuantes nesse contexto, os problemas relacionados à legislação educacional brasileira, concepções equivocadas sobre o ensino de música, entre outros. No entanto, no ano de 2008, através da Lei nº 11.769 que altera a atual LDB, a música foi instituída como conteúdo obrigatório do componente curricular Arte, devendo estar efetivamente presente na educação básica brasileira até agosto de 2011. Tendo em vista esse cenário, surgiu o interesse de investigar como se encontra o ensino da música nas escolas da cidade de Mossoró-RN, especificamente na rede municipal de ensino da cidade. Dessa forma, o trabalho teve como objetivo geral apresentar, analisar e discutir acerca da atual situação do ensino da música, enquanto conteúdo obrigatório do componente curricular Arte, em escolas da Rede Municipal de Ensino de Mossoró-RMEM. Como objetivos específicos, buscou identificar a formação dos professores que atuam na disciplina de Arte, a quantidade desses docentes que trabalham com música e aspectos relacionados à formação e experiência musical desses professores. Visou ainda, analisar as concepções e práticas de educação musical desenvolvidas por esses profissionais. O trabalho possui uma abordagem metodológica quantitativo-qualitativa, proporcionando uma visão ampla da realidade estudada, através de um levantamento quantitativo, assim como uma análise mais aprofundada, por meio de uma apreciação qualitativa. A investigação foi embasada através de um estudo bibliográfico que contemplou produções da Educação Musical, Arte, Educação e áreas afins. A pesquisa de campo foi concretizada através da aplicação de questionários, realização de entrevistas semi-estruturadas, observação participante e registros em vídeo. A partir da realização desse estudo, foi possível verificar que a grande maioria dos professores de Arte atuantes nesse contexto não possuem formação nas áreas de Arte e Música. Apesar desse fato, grande parte desses profissionais afirma trabalhar com o ensino de música. De forma geral, pôde-se constatar que a formação desses docentes tem dificultado efetivamente o desenvolvimento de suas práticas educativo-musicais. No entanto, verificou-se através da atuação desses professores, que a música tem potencialidades para estar presente de forma efetiva e sistemática nesse contexto educacional. Portanto, o que se pode evidenciar a partir da realização dessa investigação é a urgente necessidade de formação dos professores de Arte da RMEM.
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Ma, Shuhui. „The Curricular Content of Elementary Music in China Between 1912 and 1982“. Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331647/.
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The purpose of this study was to investigate the curricular content of elementary music in China between 1912 and 1982. The questions addressed were: (1) What changes in elementary music resulted from China's becoming a republic in 1912? (2) What changes in elementary music resulted from China's becoming a socialist country in 1949? (3) What changes in elementary music in the People's Republic of China resulted from the Anti—Rightist Struggle Movement in 1957? (4) What changes in elementary music in the People's Republic of China resulted from the Cultural Revolution (1966-1976)? (5) Have changes occurred in elementary music in the People's Republic of China since the beginning of the reform movement in 1978? (6) Did any of the changes affect curricular goals, contents, methods, required materials, and instruction time allotted in a like manner, or did some of these components remain the same while others changed? (7) Were the changes important enough to attribute them to a changed political ideology? After translating all pertinent documents, the goals, contents, methods, materials, and time allotted for the elementary music curricula between 1912 and 1982 were listed and identified. Subsequently, the areas of focus within those categories as well as changes in focus were identified and their importance determined. The findings were: (1) all important curricular changes occurred after 1950; and (2) changed goals resulted in changed teaching techniques; however, changed teaching techniques did not result in the changing of goals.
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West, Susan, und susan west@anu edu au. „A new paradigm in music education : the Music Education Program at The Australian National University“. The Australian National University. Centre for Educational Development and Academic Methods, 2007. http://thesis.anu.edu.au./public/adt-ANU20090816.132910.
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This thesis describes a qualitative action research process undertaken in the field over
approximately eight years of the development of an alternative paradigm for music education. This
new paradigm evolved from a simple, practical approach that was not, in the first instance,
designed to be transformational, but which quickly showed itself to have potential for providing a
different model for conceptualising musical engagement.
¶
It is argued that the standard and widely accepted approach to music education has aspects that
does not encourage on-going music making. This study conceptualises that traditional Western
approach in terms of a virtuosic mountain that prioritises and rewards technical achievement. The
concept of the virtuosic mountain is developed in terms of three Ps: Perfection, Practice and
Performance. The concept was developed by not just reviewing current literature but also by
analysing that literature in light of the developing new paradigm as a means of comparing and
contrasting the approaches.
¶
Called The Music Education Program, this new paradigm is based on a practical approach to
the sharing of music making beyond institutional boundaries like the school gate. Children do not
perform in the community but seek to engage others in making music with them without
reference to age, disability or skill level. The focus is on the social outcomes that derive from
music making rather than the improvement of skills, which develop as a natural part of community
engagement. In this respect, the approach has roots in community enculturation processes that are
no longer prominent in Western society.
¶
The new paradigm is presented with a contrasting set of three Is: Intent, Identity and
Involvement, which are designed to illustrate how the community outreach of the Music
Education Program provides a model for consciously reconceptualising our approach to music
education through re-visiting what might be regarded as old practices in a new guise. The three
Is are illustrated through a series of critical incidents that highlight the necessary change in
theoretical underpinnings that the practical application of the Program demands. This includes a
particular focus on the Intent behind our music making, rather than the quality in terms of technomusical
outcomes; stress on the individual and group choices that develop musical Identity; and
demonstration of the ways in which this paradigm may contribute to voluntary, rather than
enforced, Involvement.
¶
The critical incident data is supplemented by some survey and evaluation data which supports
the view that the social component of musical engagement provides an alternate focus to musical
development than does an achievement paradigm. The range of data collected shows that
classroom teachers can take a significant role in the encouragement of music making in the primary
school without relying solely on the expertise of those with specific musical training; and that
overcoming negative attitudes and experiences can transform not only the teachers relationship
with music but produce a positive effect on her students.
¶
The model described here has evolved through a longitudinal process that constantly maintains
the centrality of the practical operation of the program. In so doing, it moves away from theoretical
constructs that often do not seem to relate directly to practitioners but, at the same time, it avoids
prescriptive methodology. Theory is elucidated through practice in a way that encourages teachers
to develop their own practices that are consistent with underlying principles. This model is
transformative in nature, having first a transformative effect on the principal researcher and thence
on those teachers engaging in professional development with the Program.
¶
Since the Music Education Program does not yet have students who have exited the school
system, this study does not attempt to claim success in the long-term in terms of promoting ongoing
engagement through life. Data suggest, however, that it has had an impact in encouraging
teachers to reconnect with music making and enables them to share that music making with their
students, thereby helping to develop more school-based musical engagement that is also affecting
the broader community in the Australian Capital Territory.
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Blyth, Andrew, und mikewood@deakin edu au. „Using the Victorian curriculum and standards framework in music education“. Deakin University. School of Social and Cultural Studies in Education, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050815.114322.
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This research examines the usefulness of the Curriculum and Standards Framework as the basis for school music education in Victoria. The thesis consists of a folio of four short research tasks and a Dissertation that examine the question in different ways.
The first of the short research tasks uses document and discourse analysis to examine and critique the philosophies of music education and aesthetic education that inform the Curriculum and Standards Framework. The same techniques are used in the second research task to trace the adoption and dissemination of the philosophy of music education as aesthetic education in a range of curriculum documents from around Australia. These two tasks show how centralised curriculum development often produces abstract and impractical goals and strategies.
Research tasks three and four use interview and participant observation with teachers based in one Melbourne secondary school to illuminate the highly contextual nature of teaching practice. The theoretical formulations of learning presented in Victorian curriculum materials and policy documents is contrasted with the practical approaches that teachers take in developing educational programmes. These tasks show how school education is always developed in relation to students and resources and not according to abstract standards.
The Dissertation reports on a major research project with thirty-two experienced music teachers working in the northern metropolitan region of Melbourne. Interviews with both primary and secondary teachers sought to determine the extent to which the Curriculum and Standards Framework had impacted upon their classroom teaching practice. The research was guided by Grounded Theory (Glaser and Strauss 1967) principles and it showed that the Framework and the associated process of centralising curriculum production failed to deliver any measurable gains or changes in music education in schools.
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Pearce, Kevin (Conductor). „A Descriptive Study of the Musical Backgrounds of Orchestral Concert Attendees, with an Emphasis on Past Participation in School Music Programs“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505209/.
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This was a descriptive study that was completed to gather information about musical backgrounds of orchestral concert attendees, and to determine if those attendees perceived relationships between past participation in school music programs and current patronage of classical music concerts. Participants completed a survey about their musical experiences from childhood through adulthood, as well as memories from school music programs. Results and analysis of the responses identified common themes among participants' childhoods, their schooling and private lessons, experiences that served as gateways to classical music listening, the aesthetic benefits that they found in concert attendance, and negative responses that they had to music participation. Results also found a large number of pieces and composers that participants recalled from past participation in school music programs. Findings from this study analyze why these experiences were important to participants and why they might serve as motivation to attend classical music concerts or continue to support them. Implications of this study include suggestions for professional music organizations, school music educators, professional classical musicians, and church music directors. Suggestions for further research based on this study's findings are also included.
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Cranmore, Jeff L. „Experiences and Perceptions of Students in Music and Mathematics“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500113/.
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Since the time of Pythagoras, philosophers, educators, and researchers have theorized that connections exist between music and mathematics. While there is little doubt that engaging in musical or mathematical activities stimulates brain activity at high levels and that increased student involvement fosters a greater learning environment, several questions remain to determine if musical stimulation actually improves mathematic performance. This study took a qualitative approach that allowed 24 high school students to express their direct experiences with music and mathematics, as well as their perceptions of how the two fields are related. Participants were divided into four equal groups based on school music participation and level of mathematic achievement, as determined by their performance on the Texas Assessment of Knowledge and Skills (TAKS). Students participated in a series of three interviews addressing their experiences in both music and mathematics, and took the Multiple Intelligences Developmental Assessment Scales (MIDAS). TAKS data and MIDAS information were triangulated with interview findings. Using a multiple intelligence lens, this study addressed the following questions: (a) How do students perceive themselves as musicians and mathematicians? (b) What experiences do students have in the fields of music and mathematics? (c) Where do students perceive themselves continuing in the fields of music and mathematics? and (d) How do students perceive the fields of music and mathematics relating to each other? Contrary to most existing literature, the students who perceived a connection between the two fields saw mathematics driving a deeper understanding of the musical element of rhythm. Not surprisingly, students with rich backgrounds in music and mathematics had a higher perception of the importance of those fields. Further, it became readily apparent that test data often played a minimal role in shaping student perceptions of themselves in the field of mathematics. Finally, it became apparent from listening to the experiences of high school students, there are many growth areas for schools in order to meet the needs of their students.
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Bodén, Josephine. „"Jag vill göra det för min egen skull" : En studie i sångelevers motivation i relation till sånglektioner“. Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36286.
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Syftet med föreliggande studie är att utforska vad några sångelever på estetiskt program på gymnasiet anser motiverar dem under sånglektionerna. Metoden som använts är kvalitativa, halvstrukturerade intervjuer. Fyra gymnasieelever vid det estetiska programmet har intervjuats om deras motivation relaterat till de sånglektioner de får på respektive skola. Det teoretiska perspektivet som studien baseras på är ett motivationspsykologiskt perspektiv. I resultatet presenteras temat Att känna sig ”bra” som summerar informanternas berättelser om den ökade motivation de upplever då de känner sig bra på att sjunga. Ett annat tydligt tema som trädde fram i intervjuerna var sånglärarens påverkan på informanternas motivation, vilket presenteras i avsnittet Genuin lärar- elevrelation. I avsnittet Individualiserad lektionsform belyses informanternas åsikter kring vikten av individanpassade sånglektioner för att motivation ska kunna uppstå hos dem. Att arbeta mot mål tar upp informanternas samlade tankar om hur mål kan bidra till motivation. I diskussionsavsnittet diskuteras vad som motiverar sångelever under sånglektioner utifrån motivationspsykologiska aspekter med fokus på Att förklara framgång med förmåga, Positiv respons, Autonomi, och Individualiserande kommunikation. Avslutningsvis reflekterar jag över om en god lärar- elevrelation förenklar individualisering av sånglektioner och på så sätt ökar sångelevers motivation.The purpose of this study is to investigate what motivates a small group of student singers during singing lessons in an Art High School programme. The method used is qualitative semi-structured interviews. High school students were interviewed individually about their motivation, in specific relation to the singing lessons they attended at their schools. The data is analysed from a motivational psychology perspective. In the result chapter the theme To “feel good” is presented, which summarizes the participant stories about the increasing motivation they experience when they feel good when singing. Another clear theme that emerged in the semi-structured interviews was singing teacher’s impact on the motivation of the participants, which is presented in the section Genuine teacher- student relationship. The results also give an insight into the importance of Individualised lessons and Working towards goals as a key influence on student motivation. The discussion focus on what motivates singing student during the singing lessons in relation to motivational psychology aspects, with a focus on Explaining success with capacity, Positive feedback, Autonomy and Individualizing communication. Finally this study analyses the correlation between student/teacher relationship, individualised singing lessons and student motivation.
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Mathayomchan, Somsuda. „Do Re Mi? Yes! Using Music and Visual Arts to Promote Thai Children's English Vocabulary Development“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849681/.
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This research examines the efficacy, if any, of the Music and Visual Arts (MVA) program in improving the English vocabulary development of first grade Thai students. The researcher developed the Vocabulary Recognition Assessment (VRA) as a measure of English vocabulary development. It employs the accuracy and rapidity method of word recognition as a measurement of English language development in Thai children.
Forty first grade Thai students in a Bangkok elementary school participated in the study. Participants were divided equally between an experimental group and a control group. During a nine-week period, students in the experimental group were instructed with the MVA strategy, while students in the control group were taught with the Visual Arts (VA) strategy. Paired sample t-test, ANOVA, and ANCOVA were used to analyze data from the VRA, to compare the pre-test and the post-test in terms of accuracy scores and rapidity scores of the control group and the experimental group.
Data revealed that students instructed with the MVA strategy improved their English vocabulary development in terms of accuracy of word recognition significantly more than students taught English using the VA strategy. No significant difference was found between the MVA strategy and the VA strategy in terms of rapidity of word recognition. The MVA strategy could be a useful strategy for Thai early childhood teachers to use in helping Thai children learn English vocabulary.
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Murdock, Mervin Charles. „An Investigation of the Relationship Between Seventh, Tenth, and Twelfth Graders' Participation in School Choir and Their Perceived Levels of Self-Concept and Social Support“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332715/.
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The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significant differences of self-concept and social support to choir participation alone.
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Hurst, Craig Willmore. „A Nationwide Investigation of High School Band Directors' Reasons for Participating in Music Competitions“. Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277760/.
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The purpose of this study was to assess on a national level, high school band directors' reasons for their bands' participation in six different types of competitive music activities, identify important reasons for participation in competitive music activities, and examine if statistically significant differences existed between the magnitudes of importance reasons for participation when subjects' responses were grouped by type of competitive activity, frequency of participation in a competitive activity, and by groupings of U. S. states similar in terms of general participation in competitive music activities, emphasis upon ratings or rankings as an indication of a high school band directors' success, and emphasis upon participation in competitive music activities.
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Olsson, Patrik. „Musik- och kulturskolan : Olika sätt att se på frivillig musikundervisning“. Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-12235.
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Undersökningens syfte är att få djupare förståelse och insikt i vilken uppgift musik- och kulturskolan har i samhället. Utifrån detta syfte är avsikten att få en inblick i vilka arbetsmetoder som används för att rekrytera, behålla och utveckla elever samt att få kunskap om olika faktorer som påverkar kursutbud och utveckling av skolan. Jag har i min undersökning gjort kvalitativa intervjuer med sex skolledare från olika musik- och kulturskolor i Sverige. Studien utgår från olika teorier om musik- och kulturskolans utveckling och förändring samt teorier om förändringar i skola och samhälle. I resultatet visas att det finns flera olika förväntningar på musik- och kulturskolan vilka skiftar från skola till skola och från kommun till kommun. På några av de i studien medverkande skolorna finns det en tydlig politisk styrning, medan andra skolor nästan helt saknar en sådan styrning. De faktorer som mest framträdande påverkar musik- och kulturskolan är enligt min undersökning följande: vilka lärare som är anställda på skolan, vilka traditioner som ska upprätthållas, hur musik- och kulturskolan samarbetar med grundskolan och olika kulturella aktörer i kommunen, budget, elevtryck, hur rekryteringen ser ut och till viss del terminsavgiftens storlek. Musik- och kulturskolans roll har förändrats under årens lopp, vilket bland annat innebär att de traditionella genrerna i större utsträckning har fått ge plats åt populärmusiken i undervisningen. Populärmusikens ökade plats i både samhället och musik- och kulturskolan har också inneburit att bland annat blåsinstrument har sjunkit mycket i popularitet. En slutsats är att det är önskvärt att lärare inom musik- och kulturskolan både har spetskompetens samt en stor bredd, såväl genremässigt som musikaliskt, för att kunna följa eleven länge och erbjuda bästa möjliga undervisning.The purpose of this study is to gain a deeper understanding and insight into the role of the Community School of Music and Art in society. According to this view, the intention is to gain an insight into the working methods that are used to recruit, retain and develop students, as well as to acquire knowledge of the various factors affecting the rate of supply and development of the school. This examination contains qualitative interviews with six headmasters from different community schools of music and art in Sweden. The study is based on different theories of changes and developments within the community school of music and art. The study is also based on theories concerning cultural changes and changes in society. The result shows there are different expectations on community schools of music and art which vary from school to school and from municipality to municipality. Some of the schools participating in the study had an obvious political governance, while other schools almost entirely lacked such control. The factors that most affected the community schools of music and art in my survey were: the teachers that were employed at the school, which traditions were to be upheld, how the community school of music and art collaborated with schools and various cultural actors in the municipality, budget, the student population, how the school worked with recruitment and, to a certain extent, the tuition fee. The role of the community school of music and art has changed over the years. This change has affected the traditional genres to a large extent and has created more space for popular music in the classroom. While popular music has emerged in both society and in the community school of music and art, the popularity of wind instruments has decreased greatly. One conclusion from this examination is that it is desirable that the teachers of the community school of music and art both demonstrate excellence and a wide range, both from a genre and musical standpoint in order to guide and teach the student, and offer the best possible education.
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Chandler, Michael (Michael Douglas). „It's the Kids!: Examining Early-Career Elementary General Music Teacher Longevity in Title I Settings“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248427/.
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The purpose of this study was to investigate factors contributing to the longevity of four early-career (5 to 10 years of experience) K–5 elementary general music teachers in Title I schools situated in four regions of the United States. The central research question was: How did early-career elementary general music teachers in Title I schools describe the opportunities and challenges that contributed to their decisions to continue teaching? Using Deci and Ryan's theory of self-determination as a theoretical framework, I analyzed how the four teachers reflected on the degree to which they each possessed autonomy, competence, and relatedness through recounting their perspectives, stories, and experiences. Although the participants shared many commonalities, they also experienced challenges and opportunities unique to their teaching environments. Results were mixed regarding their levels of autonomy and relatedness, but all four teachers possessed a high level of competence, which was likely a contributing factor to their longevity and potential to continue teaching. Nurture and care for children also emerged as a prominent theme from the results, which required the application of a separate theoretical framework. Noddings's theory of the ethic of care served as a lens for examining the myriad ways each participant demonstrated love, care, and concern for her students. All four teachers strongly expressed the important role their love of working with children and seeing them grow, progress, and learn played in their desire to continue teaching. Of all the contributing factors, the participants' ethic of care seemed to be the most significant influence on their decisions to continue teaching. They also spoke extensively about the role of their love for music as a subject. Conclusions address implications for the field and recommendations for future research.
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Lima, Luciana Calegari Santos [UNESP]. „Expressando-se: uma interface do ensino de artes visuais com a musicalidade“. Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86914.
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lima_lcs_me_ia.pdf: 716961 bytes, checksum: 6634410aa6cf8fa3a13a74ccc37e3534 (MD5)Universidade Estadual Paulista (UNESP)
A música é uma das formas de linguagem presentes na vida humana, desde a préhistória. Vários são os estudos a respeito da origem dos efeitos sonoros sobre o ser humano, sabe-se que o homem fazia música em seus rituais de caça e adoração. Objetivo: pesquisar como o ensino de História da Arte com o recurso da musicalidade com as crianças influencia na aprendizagem significativa. Método: Pesquisa descritiva, qualitativa realizada com as séries iniciais de uma escola da rede privada de ensino da cidade de São Paulo, em 2008. Resultados: Pelo estudo realizado, percebeu-se a importância da atuação do professor que busca provocar nos alunos um entendimento sobre a área de conhecimento, baseada nas experiências vividas em salas de aula; e esta atuação distingue-o do professor tradicional; e os alunos não precisam ter um conhecimento prévio da obra de Arte, mas, é importante que a vivência seja provocada para que, além da Experiência, tenham uma vivência sonora e visual, para que haja a aprendizagem em Arte
Music is one of the language forms that have been present in human life since Prehistoric times. There are several studies about the origin of the sound effects on human beings; it is known that man created music in their hunting rituals and worship. Objective: To investigate how musical resources added to Art History teaching influences students’ meaningful learning. Method: A descriptive, qualitative study was conducted with the initial series of a private school in the city of Sao Paulo in 2008. Results: Through this research, based on classroom experiences, it was observed that the performance of the teacher who motivates students towards significant learning is of great importance; and that this practice differs from traditional practices; that students do not necessarily have to possess a prior knowledge of a work of Art, but it is important to activate a connection of it to sounds and visuals stimuli, so that besides the Experience, they can have an auditory and visual involvement, and thus, learn Art
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Paul, Stephen John. „Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331148/.
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Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in the music educator or clientele groups.
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Martinoff, Eliane Hilario da Silva [UNESP]. „O ensino de música na escola pública brasileira no período de vigência da lei 5.692/71 e seus reflexos na atualidade“. Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150153.
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O ensino de música, desde quando instituído oficialmente nas instituições públicas brasileiras, na segunda metade do século XIX, tem passado por transformações e desempenhado diferentes papéis. Com as leis as leis 5.540/68 e 5.692/71, música, teatro, artes plásticas e desenho (substituído mais tarde pela dança), passaram a constituir a Educação Artística. A partir de então, o ensino de música foi perdendo visibilidade e importância. Esta tese aponta alguns pontos principais no processo histórico do ensino de música nesse período, visando esclarecer prováveis consequências para os dias atuais. A pergunta principal é: qual o papel desempenhado pela disciplina música na escola pública brasileira durante a vigência da Lei 5.692/71 e quais as possíveis consequências para seu ensino na atualidade? O referencial teórico baseou-se em Theodore Schultz (1961, 1973) na Teoria do Capital Humano, Jofre Dumazedier (2004), quanto ao conceito de lazer e sua aplicação na educação e Jürgen Habermas (1968), quanto ao conceito de racionalidade da dominação. A metodologia baseou-se no modelo de Dominique Julia (2001), que indica três caminhos para esse estudo: 1. conhecer as normas e finalidades que regem a escola, 2. avaliar a profissionalização do trabalho do educador e 3. analisar os conteúdos ensinados e as práticas escolares. Foram analisados leis, decretos e pareceres referentes a esses aspectos; livros didáticos de música utilizados nas escolas; a formação do docente. Observou-se o lugar e o papel secundários da música na escola pública, vista como lazer dentro da cultura de massa.
The teaching of music, since when established officially in the Brazilian public institutions, in the second half of the 19th century, has undergone transformations and played different roles. With the laws 5,540/68 and 5,692/71, music, theatre, visual arts and design (later replaced by dance), become artistic education. From then on, the music was losing visibility and importance. This thesis aims some main points in the historical process of music education during this period, aiming to clarify probable consequences for the present day. The main question is: what is the role played by music in Brazilian public school discipline during the term of the law 5,692/71 and what the consequences to its teaching today? The theoretical framework is based on Theodore Schultz (1961, 1973) on Human Capital theory, Joffre Dumazedier (2004), about the concept of leisure and its application in education and Jürgen Habermas (1968), about the concept of rationality of domination. The methodology was based on the model of Dominique Julia (2001), indicating three paths for this study: 1. know the rules and governing the school purposes, 2. to assess the professionalization of the work of educator and 3. analyze the content taught and school practices. Was analyzed laws, decrees and opinions relating to these aspects; music textbooks used in schools; the education of the teaching staff. It was observed the secondary place and role of music in public school, seen as leisure within the mass culture.
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Attah, Joe K. (Joe Kofi). „The principle of "sankofa" in elementary music instruction in southern Ghana: selected school personnel's views of and their role in its implementation“. Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332579/.
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The study ascertained elementary school teachers' and supervisors' views about their role in the implementation of Sankofa (Go back and retrieve) in school music. Sankofa mandates the integration of distinctive Ghanian traditional values and practices with Western educational concepts in the school curriculum. In music, it calls for the fusion of multi-ethnic musics of Ghana with Western musical concepts in public school music instruction. Some concerns expressed by Ghanian music educators regarding teachers' negative attitudes toward Sankofa in public school music had prompted the study.
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Miller, David Michael 1951. „The Beginnings of Music in the Boston Public Schools: Decisions of the Boston School Committee in 1837 and 1845 in Light of Religious and Moral Concerns of the Time“. Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331189/.
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The research problems of this dissertation were: 1) A description of the perceived value of music in light of political undercurrents in Boston prior to and during the years under investigation, and 2) the profile of the constituency of the Boston School Committee and Committee on Music in 1837 and 1845. Questions addressed the effect of religious and moral concerns of the day on the decision by the School Committee in 1837 to try music in the curriculum, and the possible effect of religious politics on Lowell Mason's dismissal from the schools in 1845. In the minds of mid-nineteenth century Bostonians, religious and moral values were intrinsic to the very nature of music. Key members on the School Committee portrayed music as being spiritual yet nonsectarian in its influence. Therefore, the findings suggest that music was believed to provide common ground between opposing and diverse religious sects. Reasons given for Mason's dismissal by John Sargent, a member of the Committee on Music, showed parallels to H. W. Day's accusations in the press a year earlier that Mason had managed his position in a sectarian manner. Sargent's background supports the theory that religious politics were at work in Mason's dismissal. Although members of the School Committee of 1845 were religious, only isolated cases support the proposition that any of them would have opposed Mason strictly on the basis of religious issues. Evidence suggests that their passivity to the action by the Committee on Music was probably due to concurrent public criticism of attempts at school reform within the Committee. While under such scrutiny, Committee members' inaction regarding Mason's dismissal may have reflected a desire not to jeopardize their own positions as a political body.
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Scherler, Kathy L. „Elementary music teachers instructing English language learners: Reflection on practice“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4933/.
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This qualitative study investigated four monolingual, English-only speaking Caucasian elementary music teachers and their reflections regarding instruction of English language learners (ELL). The purpose of this multiple case study was to investigate the teaching practice and curricular decisions of elementary music teachers who instruct Hispanic ELL students. The investigation was conducted during a nine-week period, and data collection included classroom observations, phenomenological interviewing, and teacher audio journals. None of the teachers had prior education or pre-service preparation in teaching music to ELL students. The major theoretical base from which the study was developed was the reflective teaching theory of Donald Schön (1983). The main research question was: "What are the participating teachers' reflections about their curricular and pedagogical decisions when teaching ELL students?" Following a description of the elementary music teachers' reflections on practice with ELL students, the study revealed that the majority of elementary music teachers had a lack of preparation and ELL music curriculum, and negative perceptions of the placement program for ESL students. Despite these factors, the teachers made attempts to include ELL students in all music activities. This study showed that while one teacher accommodated specifically for the ELL students' learning, three out of four teachers did not. This study also suggests that music is a subject by which strong interactions between peers, opportunity for language expansion, and other factors occur which have positive correspondence to recommended ELL instructional strategies. A cross-case analysis revealed that the life history and experience of the elementary music teachers had an influence on the teachers' awareness of ELL students. The analysis suggests a relationship between teacher awareness and accommodation. The study also recognized the need for further inquiry regarding ELL students and issues related to their school placement. This study has implications for music education research including suggestions for music teacher preparation in working with ELL students, ELL music resources and curriculum, and pre-service and in-service ELL music preparation.
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Pitts, Valerie Renee. „Teaching the Arts through the Appalachian Culture: a Proposal for a High-School Class“. [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0329101-101430/unrestricted/pitts1.pdf.
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Thesis (M.A.)--East Tennessee State University, 2001.Title from electronic submission form. ETSU ETD database URN: etd-0329101-101430 Includes bibliographical references. Also available via Internet at the UMI web site.
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Freedman, Barbara Ann. „The Impact of Technology-Based Music Classes on Music Department Enrollment in Secondary Public High Schools in the Northeastern United States“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538794/.
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The purpose of this study was to examine if the implementation of a technology-based music class in public high schools in the northeastern United States had any significant impact on the overall music department enrollment and on enrollment in traditional performance ensemble courses, such as band and chorus, as they are the courses most offered in high schools in the United States. The two phases of the study included identifying eligible schools and collecting data from schools. A six-year history of music department and school enrollment data was collected from participating schools (n = 12). Individual music classes in each school were categorized as Band, Chorus, Orchestra, Technology-based, or Other Music Classes. Results found a statistically significant increase in overall Music Department enrollment and no statistically significant change in enrollment in Band or Chorus after the implementation of a technology-based music class. Reductions in enrollment did occur in Other Music classes. No significant change to the number of teachers in music departments was found. This study suggests that implementing a technology-based music classes may help increase overall music department enrollment without negatively impacting enrollment in traditional performance ensembles and may not necessitate funding for additional faculty.
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Hartwig, Kay, und n/a. „Music in the Year 8 Classroom: An Action Research Project“. Griffith University. School of Cognition, Language and Special Education, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040701.115435.
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The number of students electing to study music at the Senior Level in Queensland State High Schools has declined over recent years. Year 8 is the last time that students experience music lessons before being faced with subject choices. This study investigates the year 8 music program - its content and delivery. What can be done to improve music teaching in year 8? How can we present experiences at this level that will stimulate students' interest; improve their knowledge and skills; and develop students' aesthetic sensitivity to the art of music? This study involved conducting an action research project in a year 8 music class. This was done in collaboration with the classroom music teacher and her class of 25 students. The cyclical process as described by Zuber-Skerritt - acting, observing, reflecting, planning - was adopted. The study aimed: (a) to document positive experiences that could be used in the year 8 music classroom; (b) to stimulate new interest in the studying of senior music; (c) to discover ways to encourage music teachers to become reflective practitioners with a view to improving their practice; (d) to offer an action research model that other music teachers could implement in their classroom. The data collection involved the keeping of journals by the teacher and researcher; recorded interviews with the teacher and students; videos and photographs of the class; as well as interviews with other year 8 music teachers. The study identified a negative attitude by music teachers to the teaching of year 8 music. The dominant theme being taught at this level is Pop Music with a foundation unit being the starting point. Year 8 students also revealed a negative attitude to music lessons. This research project has demonstrated that it is possible to set up a program which engages year 8 students in music making and provides them with worthwhile learning experiences. However, at the end of the project, there was not a significant increase in the number of students electing to study music at the senior level. The study also set up a model for action research that could be adopted by other music teachers in their classrooms. The results of reflective practice employed by the researcher and the music teacher provided positive attitudes for other music teachers and encouragement for others to implement this practice in their classroom. Further studies are needed to involve other music teachers in reflective practice; collaboration in action research (especially in the year 8 classroom); and also the implementation of the new syllabus that will have a positive effect on the future of the subject of music and a positive effect on students' attitudes to the music subject.
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Qualls, Barbara Ann. „A Study of the Factors Influencing Job Satisfaction Among Texas High School Band Directors“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331964/.
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The problem with which this study was concerned was that of measuring and examining the level of job satisfaction among Texas high school band directors. The specific methodology included a quantitative comparison through confirmatory factor analysis of the factor structures of the sample of 109 Texas high school band directors and the norming population of 1460 industrial workers.
There were two purposes for conducting the study. First, the relationships between an assortment of demographic variables and measured job satisfaction were examined. The second purpose was to measure the degree of fit of the Frederick Herzberg Dual-Factor Theory to the factor structure of the sample. Correlation, t ratio, and one-way analysis of variance were used to compare the demographic variables with measured job satisfaction. Confirmatory factor analysis through LISREL was used to examine and compare factor structures.
Job satisfaction was measured with the Minnesota Satisfaction Questionnaire which was developed and tested through the Work Adjustment Project, Industrial Relations Center at the University of Minnesota. The twenty-item short-form retained the general reliability and validity measures of the 100-item long form. The Demographic Data Sheet is a researcher-constructed document used to gather data for use in classifying respondents by educational background, school classification, and out-of-Texas teaching experience. Respondents were also asked to indicate chronological age and number of years creditable teaching experience.
Only when classified by educational background and school classification were respondents found to have significant differences in satisfaction scores. Those band directors who hold degrees in fields other than music have significantly lower satisfaction scores than those who have only music degrees. Directors from larger UIL classification schools have higher measured levels of job satisfaction than do those in smaller Texas schools.
While there are strong similarities between the factor structures of the sample group and the norming population, the sample contained three distinct factors. The third factor, not identified in the norming population structure, was defined by the constructs of Social Status, Social Service, Authority, Ability Utilization, and Achievement. It was concluded that the Herzberg Dual-Factor Theory does not completely explain vocational adjustment among Texas high school band directors.
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Leavell, Brian K. „"Making the Change": Middle School Band Students' Perspectives on the Learning of Musical-Technical Skills in Jazz Performance“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277968/.
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Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and coded in order to identify major themes and trends. Conclusions were verified through member checks, several types of triangulation and other qualitative analysis techniques. Trustworthiness was determined through an audit. Cognitively and physically, students had to accommodate musical techniques as these differed from those used in concert band. Some students were confused by the new seating arrangement and the playing of individualized parts. While some students could perform distinctly different swing and straight interpretations of the same song without external cues, others could only perform this task with external cues. Some changes in articulation were well within the students' capabilities while other techniques were more difficult to accommodate. Several students felt 'uptight' while they improvised alone in front of their peers, noting group improvisation and rhythmic embellishment of familiar tunes as being helpful in assuaging these feelings. Students recognized the environmental differences between concert band and jazz band, and reported more freedom of expression in jazz band. Particularly enjoying this freedom, the more willing improvisors banded together as a clique. The students' learning was viewed as being situated in the context of jazz band. 'Musical perturbation' and cognitive apprenticeship described students' physical and cognitive accommodation of the new context. The instructional strategies students found to be most helpful were student-centered and derived from cognitive behavior modification and scaffolding theory.
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Lima, Luciana Calegari Santos 1976. „Expressando-se : uma interface do ensino de artes visuais com a musicalidade /“. São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86914.
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Orientador: João Cardoso Palma FilhoBanca: Káthya Maria Ayres de Godoy
Banca: Maria Leila Alves
Resumo: A música é uma das formas de linguagem presentes na vida humana, desde a préhistória. Vários são os estudos a respeito da origem dos efeitos sonoros sobre o ser humano, sabe-se que o homem fazia música em seus rituais de caça e adoração. Objetivo: pesquisar como o ensino de História da Arte com o recurso da musicalidade com as crianças influencia na aprendizagem significativa. Método: Pesquisa descritiva, qualitativa realizada com as séries iniciais de uma escola da rede privada de ensino da cidade de São Paulo, em 2008. Resultados: Pelo estudo realizado, percebeu-se a importância da atuação do professor que busca provocar nos alunos um entendimento sobre a área de conhecimento, baseada nas experiências vividas em salas de aula; e esta atuação distingue-o do professor tradicional; e os alunos não precisam ter um conhecimento prévio da obra de Arte, mas, é importante que a vivência seja provocada para que, além da Experiência, tenham uma vivência sonora e visual, para que haja a aprendizagem em Arte
Abstract: Music is one of the language forms that have been present in human life since Prehistoric times. There are several studies about the origin of the sound effects on human beings; it is known that man created music in their hunting rituals and worship. Objective: To investigate how musical resources added to Art History teaching influences students' meaningful learning. Method: A descriptive, qualitative study was conducted with the initial series of a private school in the city of Sao Paulo in 2008. Results: Through this research, based on classroom experiences, it was observed that the performance of the teacher who motivates students towards significant learning is of great importance; and that this practice differs from traditional practices; that students do not necessarily have to possess a prior knowledge of a work of Art, but it is important to activate a connection of it to sounds and visuals stimuli, so that besides the Experience, they can have an auditory and visual involvement, and thus, learn Art
Mestre
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Begnaud, Edward M. C. „Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education“. Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.
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The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.
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Raviotta, Benjamin. „Strategies for Developing Individual Education Programs for Public School Music Students with Attention Deficit Hyperactivity Disorder and Dyslexia“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955082/.
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Strategies for Developing Individual Education Programs for Public School Music Students with Attention Deficit Hyperactivity Disorder and Dyslexia explores the need for curriculum modifications, accommodations, and remediation techniques for beginner band students with specific learning disorders (SLDs) under the umbrella of Individual Education Programs (IEPs) or 504 plans for attention-deficit/hyperactivity disorder (ADHD) and/or dyslexia. ADHD and dyslexia are the most common of the neurodevelopmental disorders, often affecting a student's ability to stay focused and attentive; remain quiet and well behaved; comprehend written, visual and/or oral instruction; organize thoughts and materials; exhibit good time management; execute fine and gross motor skills; retain and recall information; decode symbols; process information quickly and correctly; maintain healthy, interpersonal relationships; and overcome anxiety. In order to provide inclusive instruction, music educators should understand how to identify these (often comorbid) conditions and the musical challenges these students might encounter, including time/pulse, notation, rhythm, posture, fingerings, and sight-reading. A guide for instrumental directors and private instrumental teachers, "How to Accommodate or Modify Musical Instruction for a Student with ADHD and/or Dyslexia" is included in this dissertation to provide useful information, multisensory techniques, and suggestions to help students with these learning disabilities achieve better success in the music classroom.
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Hudgens, Cecilia Kay Knox. „A Study of the Kodaly Approach to Music Teaching and an Investigation of Four Approaches to the Teaching of Selected Skills in First Grade Music Classes“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331823/.
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This study examined the Kodaly approach to music teaching and investigated four different approaches to teaching first graders in elementary school to sing on pitch, echo (clap) rhythms, audiate tonal patterns, and audiate rhythm patterns. The approaches were the Kodaly approach, the traditional approach, and two eclectic approaches. One emphasized some of the techniques of the Kodaly approach, and the other emphasized some of the techniques of the Orff approach. The sample for this study consisted of one hundred twenty-one students in five classes from four different elementary schools. Two instruments were utilized: the standardized Primary Measures of Music Audiation (PMMA) by Gordon and the Individual Performance Test (IPT) designed by the investigator. The PMMA had two sections of forty examples each and measured the child's ability to audiate tonal and rhythmic patterns. This test was administered to the children as a group and they recorded their answers on an answer sheet. The IPT was tape recorded and administered individually by the investigator and assistants. It had two sections, rhythm and tonal. The children matched pitches and clapped the rhythms they heard. Responses were tape recorded and evaluated. Pretests were given shortly after the school year began and post-test were given eight weeks later. A completely randomized analysis of covariance was used to analyze the data. It was hypothesized that there would be no difference in the achievement of the children in the different classes to perform the selected skills. Findings revealed that the approach to music teaching does make a difference in the musical achievement of first-graders and their abilities to echo rhythms, match pitches, and to audiate rhythm patterns. The approach to music teaching does not make a difference in the musical achievement of the subjects and their abilities to audiate tonal patterns.
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Aronsen, Björn-Ove. „Inte enbart elgitarren : Elgitarrlärares val av undervisningsmaterial samt hur de motiverar och använder det i sitt arbete“. Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78962.
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Studien syftar till att få djupare insikt i vad elgitarrlärare på kommunala musik- och kulturskolor använder för undervisningsmaterial, hur de motiverar användandet och på vilka sätt materialet verkar inspirerande på eleverna. I bakgrundsavsnittet presenteras tidigare forskning och annan litteratur som berör studien samt de teoretiska utgångspunkterna. Studiens teoretiska utgångspunkt utgörs av det sociokulturella perspektivet på lärande och kommunikation. Studiens datamaterial består av kvalitativa intervjuer med tre elgitarrlärare som undervisar inom den kommunala musik- eller kulturskolan. I resultatavsnittet beskrivs informanternas syn på undervisningsmaterial i elgitarrundervisning samt hur de motiverar användandet av den och om den är inspirerande. Deras undervisningsmaterial kan vara lika men ingångarna eller hur de använder dem, kan vara olika till sättet de används på. Vad de menar är inspirerande motiverar också deras val av material men motiveringen kan också ha en annan bakgrund. Materialet i sig behöver inte vara motiverande eller inspirerande utan det som är viktigast är den inre motivationen och inspirationen till att vilja fördjupa sig i elgitarrspel: Att eleven har en egen drivkraft! I det avslutande diskussionsavsnittet lyfts studiens resultat till diskussion i relation till tidigare forskning och till det sociokulturella perspektivet på lärande. Här framkommer att elgitarrlärarna har olika metoder för att lära ut att spela elgitarr. Trots att undervisningen handlar om att lära sig spela elgitarr visar lärarna på olika pedagogiker för att lära ut. Ibland använder lärarna sig av samma redskap men trots detta så kan de använda dem på skilda sätt.This study aims to create deeper insight in what kind of equipment electric guitar teachers use in their teaching, how they motivate it and also if it is inspiring. The background chapter presents previous research and other literature in the field and also the theoretical basis for the study, the socio-cultural perspective on learning and communication. The data consists of qualitative interviews with three electric guitar teachers who teaches at the school of music and art. The results chapter show the teacher’s view on the subject, - teaching material in electric guitar teaching and how they motivate it´s use and also if it is inspiring. Their teaching materials may be equal but how they utilize them is different What they mean is that an inspirational teaching material also motivates their choice of the same. But the opinion - what is inspiring may also be of a different view. The teaching material doesn´t need to be inspiring. Most important is the inner inspiration that motivates to immerse in electric guitar playing. In the concluding discussion the results are discussed in relation to the previous research and to the socio-cultural perspective on learning. It appears that in spite of the tuition of electric guitar playing the tuition shape depends on the teacher. Sometimes the teacher uses same tools, but they may use them differently.