Dissertationen: „Methodology of music education“

1

Farmer, Dawn Marie. „Authorship and methodology patterns in music education research, 1984-2007“. College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8224.

Der volle Inhalt der Quelle

Annotation:

Thesis (M.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: School of Music. Music Education Division. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

2

Frost, Julianna Ellen. „Recruitment and Retention: The Influence of General Music Teachers Methodology on Secondary Music Ensembles“. University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1449848590.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

3

Junda, Mary Ellen. „The development of a model inservice teacher education program in music sight reading methodology /“. Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936695.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

4

Loveless, Jerry C. L. „The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses| Faculty Member Perspectives and Potential Barriers“. Thesis, Portland State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540707.

Der volle Inhalt der Quelle

Annotation:

Previous research has identified student engagement as an important antecedent to student learning in higher education. Although student engagement is viewed as important for learning, a significant number of college students still report frequently feeling bored in their courses. The use of music as a pedagogical tool is believed to be beneficial for promoting student engagement and student learning in higher education sociology courses, yet it has been suggested that sociology faculty members do not commonly incorporate the technique into their courses. The purpose of this comparative interview study is to explore higher education sociology faculty members' understandings of the use of music as a pedagogical tool, and the perceived importance of student engagement to student learning among higher education sociology faculty members.

In this study, it is found that higher education sociology faculty members believe student engagement can lead to increased student learning. It is also found that higher education sociology faculty members generally identify music as an effective pedagogical tool for promoting student engagement and learning in higher education sociology courses. Interestingly, participants believed the use of music as a pedagogical tool to be an uncommon practice in higher education sociology courses in the United States. As part of their efforts to explain their choices to use or not use music as a pedagogical tool, faculty participants described potential barriers that may impact faculty member choices to use music in their higher education sociology courses.

Sociology faculty participants in this study agreed that a lack of discussion of pedagogical tools among colleagues and in teaching courses might serve as a potential barrier for the use of music as a pedagogical tool. Higher education sociology faculty participants also identified a lack of knowledge of how to use music as a pedagogical tool as a potential barrier for the use of music in sociology courses. This research suggests that the lack of faculty knowledge of music as a pedagogical tool may be due to the lack of discussion of pedagogical tools both among colleagues and in the teaching courses completed by higher education sociology faculty members.

Past research has suggested that sociology faculty members need to create an environment that encourages students to be active and engaged participants in their own learning through building a community of learners. This study suggests that higher education sociology faculty members may successfully build a community of learners through using music as a pedagogical tool in their courses. This study recommends that changes at the departmental level need to occur in order to make it easier for sociology faculty members to gain the knowledge required to use music effectively in their courses. Suggestions for practice and future research are provided.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

5

Nagisetty, Vytas. „Using Music-Related Concepts to Teach High School Math“. PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1958.

Der volle Inhalt der Quelle

Annotation:

The purpose of this research was to test a strategy which uses music-related concepts to teach math. A quasi-experimental study of two high school remedial geometry sections was conducted during a review lesson of ratio, proportion, and cross multiplication. A pretest was given to both groups. Then, Group A received normal textbook instruction while Group B received the treatment, Get the Math in Music, which is an online activity involving proportional reasoning in a music-related context. Afterwards, a posttest was given to both groups. Pretest and posttest scores were used to compare gains in subject knowledge between the groups. Then a second evaluation of the treatment was conducted. Group A received the treatment and took a post-posttest. Score gains for Group A before and after receiving the treatment were compared. After these tests, all participants took a survey to determine if their appreciation of math grew as a result of the treatment. Finally, interviews were conducted to provide better understanding of the results. The research questions of this study were: to what extent does the integration of Get the Math in Music improve students' academic performance in a remedial geometry review of ratio, proportion, and cross multiplication, and to what extent does participation in the Get the Math activity improve students' attitudes towards math? My hypotheses were that students would perform significantly better on a subject knowledge test after receiving the treatment, and that all students would have a more positive attitude towards math after receiving the treatment. Quantitative results did not triangulate to support or refute these hypotheses. Greater improvement from pretest to posttest was statistically correlated with Group B, which was the group first receiving the treatment. But later, between posttest and post-posttest Group A did not show statistically significant greater gains after receiving the treatment. Surveys results showed that students did not necessarily like math any more after the treatment. Interviews revealed that several of these students were apathetic to geometry in particular, if not to math in general. The case of one student's improvement suggested that positive teacher-student relationships are more effective than any particular method to increase academic performance and student engagement. Survey results were consistent with earlier psychological studies claiming teenagers care about music. Additional studies in the future on the merits of using music to teach high school math would be useful. Claims that proportional reasoning is challenging were supported. It would be beneficial to evaluate the treatment in an Algebra or Pre-Algebra setting when students first study proportions.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

6

Spets, Stina. „Fiolläraren och materialet : En undersökning av några fiollärares syn på nybörjarundervisning och val av studiematerial“. Thesis, Karlstads universitet, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7278.

Der volle Inhalt der Quelle

Annotation:

Syftet med undersökningen är att få en översiktlig inblick i hur några fiollärare undervisar och vilket material de främst använder i nybörjarundervisningen. Studien grundar sig på kvalitativa intervjuer av sex lärare inom kommunala musikskolan. Det visar sig att några spelböcker är särskilt populära, men också att alla intervjuade ständigt varierar sitt material och ibland gör eget. Skälen till detta tycks vara dels att de vill lära ut något nytt, dels att lärarna själva vill utvecklas och därför inte vill hålla på med samma sak och riskera att stagnera.
The purpose of this study is to gain a general insight into how a few violin teachers work and what printed material they use when teaching beginners. The study is based on qualitative interviews with six teachers employed at municipal music schools. Of interest, it may be observed that a few violin books are particularly popular, yet also that all interviewed subjects vary their material, while sometimes creating their own. There appear to be several reasons for this. First, the teachers prefer to teach new concepts, while second, they also strive to develop as professionals instead of repeating identical concepts, thereby risking stagnation.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

7

Prantl, Daniel. „Talking about music lessons: implicit and explicit categories of comparison“. Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34629.

Der volle Inhalt der Quelle

Annotation:

This chapter presents a grounded-theory-oriented analysis of central discussions of the ICMLV symposium which tries to clarify which tertia comparationis the participants referred upon. In total, nine implicitly and seven explicitly used T.C. are presented. An additional analysis yields that a meaning-oriented understanding of culture was in majority used throughout the symposium.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

8

OLIVEIRA, Keyla Rosa de. „Panorama da educação musical: práticas metodológicas em duas escolas de música de Goiânia-GO“. Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2703.

Der volle Inhalt der Quelle

Annotation:

Made available in DSpace on 2014-07-29T16:25:12Z (GMT). No. of bitstreams: 1 Dissertacao Keyla R de Oliveira.pdf: 548049 bytes, checksum: 5a91278f0159ef7fa275e4cf2002d9ee (MD5) Previous issue date: 2011-04-27
This research aims to study the practice and teaching of music education of students aged between nine and twelve years, during the first year of activities in specific school of music. The aim of this study is to map the proposed methodology with respect to various pedagogical theories that an educator can use in the classroom. The theoretical knowledge of contemporary researchers shows and music educators as Edgar Morin, Keith Swanwick, Marisa de Oliveira Trench Fonterra and Ermelinda Peace program hopes to better understanding of the methodological approach used by each teacher - or even if it is integrated to some pedagogical theory And its stance in the classroom. Data analysis consists of interpretive readings of texts, questionnaires and semi-open held with educators involved in research. Thus, from the standpoint of the researcher and research context, it was realized the need to develop this work and may add knowledge to the professional lives of music educators, with a consequent reflection in the musical learning of their students.
A presente pesquisa destina-se ao estudo da prática pedagógica e da formação musical de alunos com idades entre nove e doze anos, no curso do primeiro ano de atividades na escola específica de música. O objetivo geral deste trabalho é mapear a proposta metodológica com relação às diversas teorias pedagógicas que um educador pode utilizar em sala de aula. A fundamentação teórica apresenta conhecimento de pesquisadores contemporâneos e educadores musicais como Edgar Morin, Keith Swanwick, Marisa Trench de Oliveira Fonterrada e Ermelinda Paz. Almeja-se melhor compreensão da abordagem metodológica utilizada por cada professor ou mesmo se ele está integrado a alguma teoria pedagógica, bem como sua postura em sala de aula. A análise dos dados é constituída de leituras interpretativas de textos, questionários e entrevistas semi-abertas realizadas com educadores envolvidos na pesquisa. Assim, a partir do olhar da pesquisadora e do contexto da pesquisa, percebeu-se a necessidade de se desenvolver esse trabalho, podendo acrescentar conhecimentos à vida profissional dos educadores musicais, com conseqüente reflexo no aprendizado musical de seus alunos.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

9

Constantino, Paulo Roberto Prado [UNESP]. „Apreciação de gêneros musicais: práticas e percursos para a Educação Básica“. Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/150092.

Der volle Inhalt der Quelle

Annotation:

Submitted by PAULO ROBERTO PRADO CONSTANTINO null (pconst@bol.com.br) on 2017-04-06T12:37:51Z No. of bitstreams: 1 Apreciacao de generos musicais.pdf: 2131729 bytes, checksum: f1c1f2b14f5f18a71b821ebf9a90bdb9 (MD5)
Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-04-10T15:02:00Z (GMT) No. of bitstreams: 1 constantino_prp_dr_mar.pdf: 2131729 bytes, checksum: f1c1f2b14f5f18a71b821ebf9a90bdb9 (MD5)
Made available in DSpace on 2017-04-10T15:02:00Z (GMT). No. of bitstreams: 1 constantino_prp_dr_mar.pdf: 2131729 bytes, checksum: f1c1f2b14f5f18a71b821ebf9a90bdb9 (MD5) Previous issue date: 2017-03-09
A tese sustenta que a atividade de apreciação dos gêneros musicais, como estruturadora das propostas educacionais para a escola básica, é um princípio pedagógico válido e aplicável aos diferentes níveis de ensino, com ênfase no segundo ciclo do Ensino Fundamental e Médio, promovendo a aproximação das instituições escolares à diversidade dos gêneros musicais e das possibilidades de escuta baseadas nas mídias e suportes disponíveis. A pesquisa-ação foi o instrumental escolhido para uma intervenção entre 169 alunos do ensino fundamental e médio em duas escolas estaduais públicas paulistas. Os resultados obtidos foram analisados à luz das categorias de avaliação da apreciação musical propostas por Keith Swanwick (2014), delineando percursos para atividades entre os alunos da educação básica.
The thesis argues that the activity of listening of music genres as a structuring element of the educational proposals, is a valid approach and applicable to the different levels of education, with emphasis in the Elementary [Middle School] and High School, promoting the approximation of institutions to the diversity of music genres and listening possibilities, based on available media. Action-research was the instrument chosen for studies among 169 middle and high school students, in two public schools in State of São Paulo, Brazil. The results obtained were analyzed in the categories of listening evaluation proposed by Keith Swanwick (2014), outlining paths for the development of the proposal among students of basic education.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

10

Forsgren, Sanna. „Pianoundervisning - grupp eller enskilt? : Hur pianopedagoger förändrar sina didaktiska val beroende på undervisningsform“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2942.

Der volle Inhalt der Quelle

Annotation:

Denna studie bygger på en jämförelse mellan hur pianopedagoger förändrar sina didaktiska val beroende på undervisningsform, i detta fall enskild undervisning eller gruppundervisning. Tre pianopedagoger har intervjuats och sex observationer har genomförts. En då vardera pedagog undervisade i grupp och en då pedagogerna undervisade enskilda elever. Undersökningen har genomförts med hermeneutik och det sociokulturella perspektivet som teori med inslag från Lev. S. Vygotskijs tankar kring kamratlärande och den proximala utvecklingszonen. De visuella, auditiva och kinestetiska lärstilarna valdes ut som särskilt viktiga för undersökningen samt sången och rytmikmetoden som redskap i undervisningen. Dessa redskap valdes ut med grund i dess positiva påverkan på inlärning och kontinuerliga närvaro under min utbildning på Kungl. Musikhögskolan i Stockholm. En koncentration har funnits kring de redskap, enligt den sociokulturella teorin, som pedagogerna använt i sin undervisning och hur faktorer som samspel och kamratlärande har använts och speglats i undervisningen. Resultatet presenteras i två delar. Tre intervjuer med pianopedagoger visar att de inte anser sig göra någon skillnad i sina didaktiska val beroende på undervisningsform. Däremot motsäger resultatet från observationerna detta till viss del. Störst är skillnaden mellan hur informanterna ser på sångens roll i undervisningen och hur de använder den. Undersökningen visar att pedagogernas didaktiska val till större del beror på deras egna preferenser i kombination med individanpassad undervisning än beroende på undervisningsform. I resultatet kan man utläsa att fler moment och redskap användes under gruppundervisningen än under de enskilda lektionerna. Detta kan bero på att pedagogerna behöver anpassa materialet efter fler individers preferenser och möjligheter för inlärning i gruppundervisningen, under de enskilda lektionerna har pedagogerna större möjlighet att individanpassa efter den aktuella eleven.
This study is based on a comparison between how piano teachers change their didactics depending on the teaching method, particularly individual teaching or group teaching. Three piano teachers have been interviewed and six observations have been conducted. One where the teacher taught an individual student and one where the teacher taught a group. The study has been conducted with the sociocultural perspective as overarching theory with elements of Lev. S. Vygotsky’s thoughts about cooperative learning and the Zone of Proximal Development, and with hermeneutics as a method of analysis. Focus was maintained on the tools the teachers use during the lessons and how the cooperative learning is visual during the lessons. Some tools and methods were selected as particularly relevant. These where the three learning styles as tools. That is, visual, auditory and kinesthetic learning. In addition, singing as a tool were chosen as well as the Dalcroze-method. These were chosen because of their continuous presence during my education at the Royal College of Music in Stockholm and their recognition withing the particular scientific field. The results are presented in two parts. The interviews show that the teachers claims to not change their didactics depending on the teaching method, that is individual or group lessons. This is partly contradicted by the result from the observations. The most significant and striking differences is between the teacher’s thoughts about using singing as a tool and how they actually uses it. The study shows that the teacher’s didactic choices largely depend on their own preferences in combinations with the particular needs and abilities of the student. The number of methods and tools used during the group lessons are greater than the ones used during the individual lessons. This could be caused by the fact that the teachers need considerate every students preferences in learning during a group lesson whereas the teacher can concentrate on just one student during a individual lesson.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

11

FERRO, Ítalo Rômulo de Holanda. „A inclusão do ensino de música nos currículos escolares do CRAJUBAR: contribuições do estágio supervisionado do curso de licenciatura em música da UFC - Campus Cariri“. www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/6010.

Der volle Inhalt der Quelle

Annotation:

FERRO, Ítalo Rômulo de Holanda. A inclusão do ensino de música nos currículos escolares do CRAJUBAR: contribuições do estágio supervisionado do curso de licenciatura em música da UFC - Campus Cariri. 2013. 84f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013.
Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-03T14:09:41Z No. of bitstreams: 1 2013-DIS-IRHFERRO.pdf: 7265414 bytes, checksum: ff4dfbe6441ff61f75293f4afe766d3e (MD5)
Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-03T14:26:18Z (GMT) No. of bitstreams: 1 2013-DIS-IRHFERRO.pdf: 7265414 bytes, checksum: ff4dfbe6441ff61f75293f4afe766d3e (MD5)
Made available in DSpace on 2013-10-03T14:26:18Z (GMT). No. of bitstreams: 1 2013-DIS-IRHFERRO.pdf: 7265414 bytes, checksum: ff4dfbe6441ff61f75293f4afe766d3e (MD5) Previous issue date: 2013
This dissertation work had its development in the Post-Graduate Education Brazilian FACED - Faculty of Education of the Federal University of Ceará in the search line Education, Curriculum and Teaching and thematic Music Education. This research conducted an analysis of how the experiences of students by selecting the Bachelor of Music from UFC - Cariri who perform the Supervised contribute in the process of inclusion of music education in school curricula of Crajubar. The whole process of research was focused on the theoretical and practical actions of students of music directly involved Supervised schools. As methodological procedure, used the technique of qualitative social research Focus Group as a form of integrative methodologic that allows democratic debate of the experiences gained by students in supervised training in music education. From the results of this research have elaborated some recommendations with the aim of contributing to the harmonious relationship between the formation of competent teachers by the university and the process of inclusion of music education in the schools of the region.
Este trabalho dissertativo teve o seu desenvolvimento no Programa de Pós-Graduação em Educação Brasileira da FACED – Faculdade de Educação da Universidade Federal do Ceará na linha de pesquisa Educação, Currículo e Ensino e no eixo temático Ensino de Música. A presente pesquisa realizou uma análise de como as experiências vivenciadas pela seleção de alunos do Curso de Licenciatura em Música da UFC – Cariri que realizam o Estágio Curricular Supervisionado, contribuem no processo de inclusão do ensino de música nos currículos escolares do CRAJUBAR. Todo o processo de investigação foi focado nas ações teóricas e práticas dos estudantes do curso de música envolvidos diretamente com o Estágio Curricular Supervisionado nas escolas. Como procedimento metodológico, utilizei a técnica de pesquisa social qualitativa de Grupo Focal que é uma forma de metodologia integrativa onde se permite o debate democrático das experiências adquiridas pelos alunos durante a realização do estágio em educação musical. A partir dos resultados desta pesquisa elaborei algumas considerações com o intuito de contribuir à articulação harmoniosa entre a formação de professores competentes por parte da universidade e o processo de inclusão do ensino de música nas escolas da região.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

12

Tibbetts, Tracey D. „Computer generated music : a methodology for computer music composition“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1125059.

Der volle Inhalt der Quelle

Annotation:

This study will prove the fact that computers provide unprecedented opportunities to create music. Several distinct levels of computer participation can exist in the creative process. The lowest level, involving record-keeping functions, results in programs that serve as compositional aids. The intermediate level incorporates stochastic (literally "random") processes on a limited basis, and represents the midpoint between computer-assisted and computercomposed works. The highest level focuses on the design of algorithms that result in compositions determined in most of their details by stochastic processes and computer decision making. Although there is no clear dividing line between levels of computer/composer interaction, it is possible to characterize the degree to which the computer has provided outcomes for a given work, from low-level random generation of pitches to high-level Markovian chain distributions.
Department of Computer Science

APA, Harvard, Vancouver, ISO und andere Zitierweisen

13

Kirt, Alex J. „Plowing Lacquer and Polishing Noise: A Mudsill's Methodology“. OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1645.

Der volle Inhalt der Quelle

Annotation:

This thesis project represents the culmination of my interests in sonic arts, phonography, musical performance, historical preservation, and class equality. The performance Plowing Lacquer and Polishing Noise: A Mudsill's Methodology features the music of Southern Illinois performed on homemade jug band style instruments. The performance also features my sound art sculptures, The Shintonarumori and The Gatlingophone. This paper examines the personal, historical, social, and economic factors that have inspired this media arts thesis project, including my ideological media arts theory entitled The Harakiri Manifesto. This thesis paper concludes with a brief pondering on the democratizing power of music and sound recording.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

14

Ferro, Ãtalo RÃmulo de Holanda. „A inclusÃo do ensino de mÃsica nos currÃculos escolares do CRAJUBAR: contribuiÃÃes do estÃgio supervisionado do curso de licenciatura em mÃsica da UFC - campus Cariri“. Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10341.

Der volle Inhalt der Quelle

Annotation:

Este trabalho dissertativo teve o seu desenvolvimento no Programa de PÃs-GraduaÃÃo em EducaÃÃo Brasileira da FACED â Faculdade de EducaÃÃo da Universidade Federal do CearÃ na linha de pesquisa EducaÃÃo, CurrÃculo e Ensino e no eixo temÃtico Ensino de MÃsica. A presente pesquisa realizou uma anÃlise de como as experiÃncias vivenciadas pela seleÃÃo de alunos do Curso de Licenciatura em MÃsica da UFC â Cariri que realizam o EstÃgio Curricular Supervisionado, contribuem no processo de inclusÃo do ensino de mÃsica nos currÃculos escolares do CRAJUBAR. Todo o processo de investigaÃÃo foi focado nas aÃÃes teÃricas e prÃticas dos estudantes do curso de mÃsica envolvidos diretamente com o EstÃgio Curricular Supervisionado nas escolas. Como procedimento metodolÃgico, utilizei a tÃcnica de pesquisa social qualitativa de Grupo Focal que Ã uma forma de metodologia integrativa onde se permite o debate democrÃtico das experiÃncias adquiridas pelos alunos durante a realizaÃÃo do estÃgio em educaÃÃo musical. A partir dos resultados desta pesquisa elaborei algumas consideraÃÃes com o intuito de contribuir Ã articulaÃÃo harmoniosa entre a formaÃÃo de professores competentes por parte da universidade e o processo de inclusÃo do ensino de mÃsica nas escolas da regiÃo.
This dissertation work had its development in the Post-Graduate Education Brazilian FACED - Faculty of Education of the Federal University of CearÃ in the search line Education, Curriculum and Teaching and thematic Music Education. This research conducted an analysis of how the experiences of students by selecting the Bachelor of Music from UFC - Cariri who perform the Supervised contribute in the process of inclusion of music education in school curricula of Crajubar. The whole process of research was focused on the theoretical and practical actions of students of music directly involved Supervised schools. As methodological procedure, used the technique of qualitative social research Focus Group as a form of integrative methodologic that allows democratic debate of the experiences gained by students in supervised training in music education. From the results of this research have elaborated some recommendations with the aim of contributing to the harmonious relationship between the formation of competent teachers by the university and the process of inclusion of music education in the schools of the region.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

15

Cettolin, Franciele. „Musicando a história e historiando a música em escolas de Caxias do Sul : 2008-2014“. reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1092.

Der volle Inhalt der Quelle

Annotation:

O corpus deste trabalho trata do ensino da Música na escola aliado ao ensino da História, uma vez que ambos, como componentes do sistema nacional de ensino, têm sido temas recorrentes nos debates tanto acadêmicos como no âmbito da educação básica. A Lei de Diretrizes e Bases da Educação Nacional, 1996, recomenda o trabalhado com temas transversais e sugere metodologias diversas que almejam abranger os problemas educacionais e amparar o multiculturalismo presente no meio escolar e comunitário. Neste sentido, a pesquisa propõe problematizar o não cumprimento da Lei nº 11.769/2008 que trata sobre a obrigatoriedade da música na educação básica, se constituindo como provocadora de debates e ponderações acerca do ensino de Música, História e questões interdisciplinares entre ambas. Tendo por base o resultado de entrevistas aplicadas junto a professores de história de escolas públicas, municipais e estaduais, de Caxias do Sul, pretende ainda avaliar o material didático e pedagógico existente sobre o assunto e as consequentes práticas dos professores em sala de aula. A partir disto, almejou-se construir um material acessível e de apoio ao professor que pretende trabalhar com a Música nas aulas de História, além do que já é proposto, de forma a considerar o sublime. A metodologia utilizada baseou-se na revisão bibliográfica com ênfase na história cultural proposta por Roger Chartier, juntamente com as entrevistas que compuseram uma análise, sobretudo, qualitativa dos dados, além de todo campo bibliográfico visitado a respeito do ensino das disciplinas em questão. Por fim, concluiu-se que a Música oferece amparo para a formação do educando uma vez que a proximidade da mesma com o seu dia a dia permite relações que ultrapassam as questões puramente teóricas, possibilitando através da leitura de vários signos musicais, interpretações nos mais diversos campos do saber, principalmente na área de ciências humanas e em particular, no ensino de História, significando a consciência de si e do outro.
Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-01-27T17:31:11Z No. of bitstreams: 1 Dissertacao Franciele Cettolin.pdf: 2591692 bytes, checksum: 0ef27a936fbf0158ae33d1d300dd8614 (MD5)
Made available in DSpace on 2016-01-27T17:31:11Z (GMT). No. of bitstreams: 1 Dissertacao Franciele Cettolin.pdf: 2591692 bytes, checksum: 0ef27a936fbf0158ae33d1d300dd8614 (MD5)
The corpus of this work deals with the teaching of music in schools coupled with the teaching of history, since both, as components of the national education system, have been recurrent themes in both academic debates and in the context of basic education. The Law of Directives and Bases of National Education, 1996 recommends working with cross-cutting issues, and suggests several methods that aim to cover the educational problems and bolster this multiculturalism in the school and community environment. In this sense, the research proposes to question the failure of Law No. 11,769 / 2008, which deals with the obligation of music in basic education, constituting as provocative discussions and considerations about music education, history and interdisciplinary issues between them. Based on the results of interviews applied along the history of public school teachers, municipal and state, of Caxias do Sul, intends to evaluate the existing teaching and learning materials on the subject and the consequent practices of teachers in the classroom. From this, he craved to build an affordable material and teacher support you want to work with music in history classes, beyond what is already proposed in order to consider the sublime. The methodology used was based on the literature review with emphasis on cultural history proposed by Roger Chartier, along with interviews that comprised an analysis, especially, qualitative data, plus all bibliographic field visited about the teaching of the subjects in question. Finally, it was concluded that Music provides support for elementary education since the proximity of the same with your day to day allows relationships that go beyond the purely theoretical questions, enabling by reading various musical signs interpretations in more various fields of knowledge, especially in the humanities and in particular, the teaching of History, meaning the awareness of self and other.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

16

Rowlands, Jeffrey. „Twelve note methodology in the music of Alexander Goehr“. Thesis, University of Surrey, 1989. http://epubs.surrey.ac.uk/804377/.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

17

Schüler, Nico. „On Methods and Methodology of (Computer-Assisted) Music Analysis“. Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36660.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

18

LaFleur, Brandon Kyle. „Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis“. Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

Der volle Inhalt der Quelle

Annotation:

This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

19

Warrenburg, Lindsay Alison. „Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1566765247386444.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

20

Ortiz, Perez Mariela. „Finland's Education: A Methodology for Design“. University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522342170846077.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

21

Forari, Antonia. „The voices of Cypriot music education : a sociology of music education“. Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/10006665/.

Der volle Inhalt der Quelle

Annotation:

Monitoring the processes through which upper secondary music education in Cyprus is constructed calls for articulation of the meanings of four groups of key actors. These actors are involved in music education's journey from education policy contexts to curriculum contexts. They include, firstly, the policymakers of the Cyprus Ministry of Education, who form policy and present this as curriculum ideologies, mainly in the official rhetorical curriculum. Second, the music inspector (for which there is only one post in Cyprus) has the main responsibility of interpreting, adapting and embodying this education policy in the intended music curricula. Third and fourth, this education policy is implemented, with a degree of interpretation, by music teachers, and actively received by pupils, who conceptualise and interact in complex ways with what is made and remade as the context of a school music educational culture, according to their own distinct logic, in relation to the delivered and received music curriculum respectively. This thesis investigates these various meanings through a policy trajectory study, gathering mostly qualitative data to unravel what counts as music education for the actors and how they conceive each others' meanings. Empirical data were gathered with reference to the aims, content, activities and assessment of the curriculum as conceived by individual key actors. Data referring to the first context identified earlier, that of the official rhetorical curriculum, involved a range of documentation from the Archives of the Ministry of Education of Cyprus; an extended semi-structured interview and follow-up discussions with Cyprus's music inspector were conducted regarding the second context, that of the intended music curriculum; a questionnaire to music teachers and, finally, group interviews with pupils were conducted in relation to the third and fourth contexts, the delivered and received curricula respectively. The findings indicate that Cypriot music education is a polydynamic site, full of paradoxes and conflicts within and between all four contexts. Key actors struggle with each other to define what counts as music education. In these terms music education is viewed as a socio-political construction, in which critical theory, and, more specifically, Foucault's concept of power as possessing an exclusionary, silencing aspect as well as a creative, positive one, can reveal what counts as musical knowledge. A theoretical model is proposed as an aid to conceptual and methodological interpretations of curriculum policy trajectory phenomena in music education.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

22

Thorgersen, Ketil. „Music from the Backyard : Hagström's Music Education“. Doctoral thesis, Luleå tekniska universitet, Institutionen för musik och medier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40056.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

23

Dunn, Anne Maureen. „Music education : an adult education perspective“. Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/10019700/.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

24

Young, Sharon M. „Music teachers' attitudes, classroom environments, and music activities in multicultural music education /“. The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

25

NGUYEN, DUY. „SOFTWARE FOR MUSIC EDUCATION“. Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190713.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

26

Betancourt, Cindy Alyce. „William Walton's viola concerto : a methodology of study“. Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063302.

Der volle Inhalt der Quelle

Annotation:

This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire.
School of Music

APA, Harvard, Vancouver, ISO und andere Zitierweisen

27

Makonnen, Karyn. „The Interdisciplinary Approach: A Music Education Methods Course Component For Preservice Education and Music Education Majors“. Bowling Green State University / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1421884052.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

28

Stock, Carolyn D. „Perspectives in music education and arts education : the role of National standards for arts education in music education policy reform /“. view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p1413024.

Der volle Inhalt der Quelle

Annotation:

Thesis (M.A.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 74-75). Also available for download via the World Wide Web; free to University of Oregon users.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

29

Olivier, Hannelore. „Musical networks : the case for a neural network methodology in advertisement music research“. Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/16618.

Der volle Inhalt der Quelle

Annotation:

Thesis (M.Mus.)--University of Stellenbosch, 2005.
ENGLISH ABSTRACT: Countless scientists had been struggling for centuries to find a significant connection between cognition, emotion and reasoning – resulting in today’s rather embarrassingly imperfect understanding of even the most basic human cognition. We should apprehend that it is unlikely that major breakthroughs in the Cognitive Sciences, Psychology, Sociology or the Medical Sciences will elucidate everything about the human brain and -behaviour in the very near future. Realizing this, it is realistic that we should transfer our attention to things that we do know and understand, and reconsider the power that lies in the integration of results and an interdisciplinary perspective in research. Using the tools we have to our disposal today – digital tools such as ANNs which did not exist a few decades before – this is actually readily viable today. This thesis demonstrates that it is possible to break the traditional boundaries that have periodically prevented the Humanities and the Natural Sciences to join forces towards a greater understanding of human beings. By using ANNs, we are able to merge data from any subfield within the Humanities and Natural Sciences in a single study. The results, interpretations and applications which could develop from such a study would certainly be more inclusive than those derived from research conducted in one or two of these fields in isolation. Sufficient evidence is provided in this dissertation to support a methodology which employs an artificial neural network to assist with decision-making processes related to the choice of advertisement music. The main objective of this endeavour is to establish the feasibility of combining data from many diverse fields, in the creation of an ANN that can be helpful in research regarding South African advertisement music. The thesis explores the notion that knowledge from many interdisciplinary study fields ought to play a leading role in the creation and assessment of effective, target-group-specific advertisement music. In obtaining this goal, it examines the probability of producing a computer-based tool which can assist people working in the advertising industry to obtain an educated match between product, consumer, and advertisement music. Taking a multidisciplinary point of view, the author suggests a methodology for the design of a digital tool in the form of a musical network model. It is concluded that, by using this musical network, it is indeed possible to guarantee a functional musically-paired commercial, which effectively addresses its target-group and has an appropriate emotional effect in support of the marketing goals of the advertising agent. The thesis also demonstrates that it is possible to gain new insights regarding a fairly unstudied discipline, without necessarily conducting new research studies in the specified field. The thesis proves that - by taking an interdisciplinary approach and by using ANNs - it is possible to attain new data that is scientifically valid, even in an unacknowledged field such as South African advertisement music. Although the scope of the thesis does not provide for the actual implementation of the musical network, the feasibility of the conceptual idea is thoroughly examined, and it is concluded that the theory in it’s entirely is definitely feasible, and can be implemented in a future study.
AFRIKAANSE OPSOMMING: Vir eeue al probeer wetenskaplikes ‘n betekenisvolle verwantskap tussen denke, emosie en redenasie vind. Nietemin het ons vandag slegs ‘n beperkte begrip van selfs die mees basiese menslike kognisie. Ons moet besef dat dit onwaarskynlik is dat deurbrake in die Kognitiewe Wetenskappe, Sielkunde, Sosiologie of die Mediese Wetenskap in die nabye toekoms die volle funksionaliteit van die menslike brein en gedrag sal bekendmaak. Met inagname hiervan, is ‘n aandagsverskuiwing geoorloof - na die dinge wat ons wel weet en verstaan. Die enorme potensiaal opgesluit in die integrasie van resultate en ‘n interdissiplinêre navorsingsperspektief behoort gevolglik heroorweeg te word. Ons beskik tans oor meer as voldoende digitale hulpbronne, waaronder kunsmatige neurale netwerke, wat wel so ‘n benadering kan bewerkstellig. In hierdie tesis word daar gedemonstreer dat dit moontlik is om die grense wat tradisioneel ‘n samewerking tussen die Geestes- en Natuurwetenskappe beperk het, af te breek - ‘n werkswyse wat noodwendig sal lei tot ‘n beter begrip van die mens. Kunsmatige neurale netwerke maak dit moontlik om navorsingsdata uit die Geestes- en Natuurwetenskappe te kombineer in ‘n enkele onderneming. Die bevindinge, interpretasies en toepasings wat potensieel uit so ‘n metodologie sou kon voortspruit, is sonder twyfel meer omvattend as dié afkomstig vanuit ‘n eendimensionele studie. Voldoende bewyse word deur die loop van hierdie studie voorgehou ter ondersteuning van ‘n kunsmatige neurale netwerk-metodologie in die assistering van besluitnemingsprosesse rakende advertensiemusiek. Die hoofdoelwit van die onderneming is om te toets of die ontwerp van ‘n kunsmatige neurale netwerk - deur die kombinasie van data uit diverse studierigtings - wel geoorloof en funksioneel sou kon wees. Die aanname dat inligting uit ‘n aantal interdissiplinêre studierigtings ‘n prominente rol behoort te speel tydens die skep en beoordeling van effektiewe, teikengroep-gerigte advertensiemusiek, word gevolglik ondersoek. Om hierdie objektief te bewerkstellig, word die waarskynlikheid bestudeer na die ontwerp van ‘n rekenaargebaseerde hulpbron - wat mense in die advertensiewese behulpsaam kan wees om ‘n berekende en ingeligte keuse uit te oefen om produk, verbruiker en advertensiemusiek te laat pas. Die outeur benader die probleem vanuit ‘n multidissiplinêne oogpunt, en stel ‘n werkswyse voor vir die ontwerp van ‘n digitale hulpbron – in die vorm van ‘n musikale netwerk model. Daar word bevind dat - deur die gebruik van die voorgestelde model, dit wel moontlik is om die funksionaliteit van ‘n musiekgepaarde advertensie te verseker. Verder word daar gedemonstreer dat nuwe insigte rakende ‘n grotendeels afgeskeepte studierigting soos Suid-Afrikaanse advertensiemusiek moeiteloos bekom kan word, sonder om noodwendig navorsing binne die spesifieke gebied te loods. Laasgenoemde is doenbaar deur ‘n interdissiplinêre navorsingsbenadering, gekombineerd met ‘n kunsmatige neurale netwerk-metodologie. Die omvang van hierdie studie maak nie voorsiening vir die implementering van die musikale netwerk nie. Nietemin word die werkbaarheid van die konseptuele idee in diepte ondersoek, met die gevolgtrekking dat die teorie in sy geheel sonder twyfel prakties is, en in ‘n toekomstige studie geïmplementeer kan word.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

30

Parker, Linda Carol. „A historical study of the use of program evaluation in education /“. Access abstract and link to full text, 1994. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9423376.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

31

Paton, Rod. „The process of renewal in music and music education“. Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307250.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

32

Berger, Monica. „Scholarly monographs on rock music: a bibliographic essay“. Emerald Group Publishing, 2008. http://hdl.handle.net/10150/299601.

Der volle Inhalt der Quelle

Annotation:

Purpose: This article is an overview of scholarly monographs on rock music from 1980 to the present. It provides an overview to the literature for practical purposes of collections development as well as giving the reader insight into key issues and trends related to a interdisciplinary topic that attracts scholars from many disciplines in the humanities and social sciences. Design/methodology/approach: This bibliographic essay, focusing on works related to American culture and of a general nature, includes an overview and historical background; a discussion of how music and ethnomusiciological scholars approach the topic; geographic approaches; literature on four key icons (Elvis, Dylan, Springsteen, and Madonna); American studies; subcultures and genres; other methodologies; and concludes by discussing notable recent works. Findings: The scholarly literature on rock incorporates a wide variety of approaches and methodologies. Many music-related scholars appropriate methodology from other disciplines and some non-music-related scholars use the formalistic analysis of music scholars. Authenticity is a major theme in the literature on rock. Originality/value: This essay covers the widest range of monographs on the topic, providing insight into not only the key scholars but also the diversity of approaches to the topic. The historical approach to the literature gives the reader a sense of how the academic discourse on rock has evolved. This essay is of interest to librarians, scholars of rock music, and others concerned with how American scholarship in the humanities and the social sciences has grown since the advent of cultural studies.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

33

Wang, Jing. „Advanced Quantitative Measurement Methodology in Physics Education Research“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249366709.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

34

Barrett, James Edward. „Music technology in school education“. Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.

Der volle Inhalt der Quelle

Annotation:

What is music, and how should it be taught in schools? This thesis traces how education and literation have reified music and distanced the construction of music in western conceptions, and British education, from practice in other, historical and geographical, cultures. Musical practice is dependant on the technologies for music production, which also influence the cultural construction of music. New developments in music technology, through the application of electronics and digitisation, have substantially changed the music industry, and, beyond this, have altered the generally accepted construction of music, by opening up new possibilities of sound creation and manipulation. These changes are theorised here as a transgressional step in the progressive literation of music, that reconnects musical practice to wider possibilities in the organisation of sound, some of which are examined by reference to the example of the traditional music of sub-Saharan Africa. By requiring more music practice, and inclusion of music from other times and cultures, the (British) National Curriculum has made new demands of music education in schools. It is shown that as these coincide with concomitant changes in the production of music due to new technologies, there is a possibility of restructuring music teaching in schools to take account of twenty-first century industry practice of music production. This will provide a sound basis for future employment to pupils. While there are many examples of excellence in school music teaching, quality remains variable and change is uneven. This thesis demonstrates the possibility within school music, of increasing the emphasis on a wider range ix of possibilities of organised sound, by connecting music to science, especially acoustical science, in Key Stages 1-3. At higher levels, considering music and sound together with images in multimedia will provide wider opportunities for the development of career skills. An electronic xylophone serves as an example of an instrument developed to enable the exploration of sound in the manner proposed, while retaining the kinaethesia found in physical musical instruments.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

35

Runn, Elin, und Mikaela Jönsson. „Using music in Swedish education“. Thesis, Malmö högskola, Lärarutbildningen (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29906.

Der volle Inhalt der Quelle

Annotation:

Arbetets syfte är att undersöka på vilka grunder musik bör användas som redskap i svenskundervisning. I ämnesplanen för svenska 1 finns flera formuleringar som stödjer lyssnandet samt att eleverna ska kunna hantera flera olika medier. Användandet av musik går ifrån den traditionella ”läsa-skriva”-ramen vilket gör att det kan finnas motstånd mot denna typ av estetisk läroprocess. Vårt mål med undersökningen är att visa att musik som medel kan användas i svenskundervisning utan att försämra elevernas slutresultat. Musikens pedagogiska fördelar har belagts av flera forskare. För att styrka dessa fördelar har vi använt oss av relevant litteratur från Sundin (1998), Sundin (1995), Scheid (2009) Steinberg (1994) och Wiklund (2009). Vår förhoppning är att visa musikens motiverande effekt. Litteratur som rör motivation hämtades från Dysthe (2008) och Hugo (2011). Vår undersökning utgår från en text och två undervisningspass. I det första passet analyserade eleverna texten utan musik och i det andra analyserade de samma text med musik. Detta skede observerades och elevernas svar på analyserna följdes upp med individuella intervjuer av fyra på förhand utvalda elever. Det sammanställda resultatet visade att ingen informant gjorde sämre ifrån sig med musikens inträde, däremot gjorde en elev en bättre analys. Tre elever ansåg att musiken gjorde undervisningen mer intressant. En elev uppfattade musiken som störande, men påpekade att det troligtvis berodde på hans ovana att använda musik i undervisningen. Musikens positiva effekter visades tydligast i elevernas resonemang kring deras engagemang inför uppgiften, samtidigt som inget slutresultat försämrades.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

36

Torrance, Tracy A. „Music Ensemble Participation: Personality Traits and Music Experience“. Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7100.

Der volle Inhalt der Quelle

Annotation:

The personality of musicians, artists, and other creative persons is of considerable interest to researchers and educators who seek to identify traits associated with musical behaviors. Personality traits can influence music behaviors such as instrument choice, ensemble choice, practice habits, and musical experience, which may contribute to continued music participation. The purpose of this study is to explore the relationships between personality type, music ensemble section, instrument choice (vocal or instrumental), and musical experience in college students and individuals who choose to continue participation after college. Few studies have concentrated on personality characteristics of ensemble members at the collegiate level and after formal education ceases. This is particularly relevant as personality characteristics may not be stable with age. This study examined the following questions: 1) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble choice (instrumental, vocal no musical ensemble participation) and gender?; and 2) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble section (e.g., brass, alto voice)? Participants were given a survey containing demographic questions and the Big Five Personality Inventory IPIP (Goldberg, 1992). Results showed that vocalists scored higher in Extroversion and Agreeableness compared to instrumentalists, and Instrumentalists scored higher in Neuroticism than vocalists. These results are consistent with previous research findings. This study has many implications for ensemble directors, such as rehearsal structure and repertoire choice. Music educators could also benefit from this knowledge when developing lesson plans and group assignments. Understanding different personality traits would also help ensemble members with communication within the ensemble.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

37

Murphy, Michael J. „Methodology for the production and delivery of generative music for the personal listener : systems for realtime generative music production“. Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9737.

Der volle Inhalt der Quelle

Annotation:

This thesis will describe a system for the production of generative music through specific methodology, and provide an approach for the delivery of this material. The system and body of work will be targeted specifically at the personal listening audience. As the largest current consumer of music in all genres of music, this represents the largest and most applicable market to develop such a system for. By considering how recorded media compares to concert performance, it is possible to ascertain which attributes of performance may be translated to a generative media. In addition, an outline of how fixed media has changed how people listen to music directly will be considered. By looking at these concepts an attempt is made to create a system which satisfies societies need for music which is not only commodified and easily approached, but also closes the qualitative gap between a static delivery medium and concert based output. This is approached within the context of contemporary classical music. Furthermore, by considering the development and fragmentation of the personal listening audience through technological developments, a methodology for the delivery of generative media to a range of devices will be investigated. A body of musical work will be created which attempts to realise these goals in a qualitative fashion. These works will span the development of the composition methodology, and the algorithmic methods covered. A conclusion based on the possibilities of each system with regard to its qualitative output will form the basis for evaluation. As this investigation is seated within the field of music, the musical output and composition methodology will be considered as the primary deciding factor of a system's feasibility. The contribution of this research to the field will be a methodology for the composition and production of algorithmic music in realtime, and a feasible method for the delivery of this music to a wide audience.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

38

Jarachovic, Jacquelyn Sarah. „Vocal Health Education for Preservice Music Education Students“. Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588190950179913.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

39

Holmberg, Susan D. „Music teachers’ perceptions: the role of music education in early literacy“. Diss., Kansas State University, 2010. http://hdl.handle.net/2097/4635.

Der volle Inhalt der Quelle

Annotation:

Doctor of Philosophy
Curriculum and Instruction Programs
Jana R. Fallin
In the wake of No Child Left Behind Act (U.S. Department of Education, 2006), educational reforms focused on providing students with effective systematic instruction in reading skills have become a nationwide concern. Report findings from the National Reading Panel (National Institute of Child Health and Human Development, 2000), indicate the establishment of a high quality comprehensive reading curriculum must include the five key components of phonemic awareness, phonics, fluency, vocabulary, and comprehension to improve reading achievement. These essential elements, with emphasis on phonemic awareness and phonics skills beginning in pre-kindergarten, are instrumental in the acquisition of early literacy development. The purpose of this qualitative study was directed toward better understanding first grade general music teachers’ perceptions of the role of music education in the attainment of early literacy. Using a multi-site case study design to examine and present an analysis of nine public elementary school music educators from across a Midwestern state, each of which used one of the three elementary general music series currently published, resulted in this collective case study. Data indicated parallels focused on the five key reading components between music and language literacy development processes, with particular emphasis on aural discrimination skills to phonemic awareness. Further findings described the sequential sound before symbol pedagogical practice of music literacy development from the perspective of the nine general music educators to be similar to early reading skills progressions, as they experienced equivalent learning processes. Implications for the educational community and suggestions for further research were discussed.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

40

Perkins, Emily Good. „In Search of Culturally Sustaining Music Pedagogy| Adolescent Music Students' Perceptions of Singing and Music Teaching“. Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816933.

Der volle Inhalt der Quelle

Annotation:

The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical bel canto vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical traditions. Because music plays an important role in adolescents’ identity formation, teachers who are unprepared to recognize and teach diverse vocal styles may unknowingly alienate or silence their students.

The purpose of this study was to develop an understanding of how two groups of music students, in early adolescence, and from a diverse urban public school, perceive the singing and the music teaching in their general music classrooms. By discovering their perspectives, I hoped to shed light on the ways in which music teaching influenced their musical, vocal, and cultural identities, particularly during the malleable time of adolescence.

Over the course of three months, I conducted semi-structured interviews with 14 students and two teachers as well as twice-weekly classroom observations. Three research questions informed the data collection process: (1) How do students in a diverse urban public school describe their own singing and musical background? (2) How do they describe the vocal (and music) teaching in their general music class? (3) How do they describe an effective or ideal music teacher?

The interview data and field notes from the observations were coded, organized, and analyzed into the following categories: (1) Music and Self Expression; (2) Music and Family; (3) Culturally Congruent and Incongruent Teaching; (4) Student Vocal Profiles; (5) If They Could Teach the Music Class, How Would They Teach? The overarching conclusion from this study is that the congruence or incongruence of a teacher’s musical epistemology — “the norms, logic, values, and way of knowing” music (Domínguez, 2017, p. 233) — along with the musical epistemologies of her students was the primary factor for student exclusion or empowerment in the classroom.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

41

Schaus, Lam E. „Implementing multicultural music education in the elementary schools' music curriculum“. Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.

Der volle Inhalt der Quelle

Annotation:

The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in Ontario's music curriculum, (b) students receive non-Western music with enthusiasm, and (c) if taught responsibly, learning music from non-Western cultures can expand individual students' musical and cultural horizons, help eliminate stereotypes and discrimination in society, and possibly elevate the status of music education in schools.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

42

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.

Der volle Inhalt der Quelle

Annotation:

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.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

43

Gaydos, Thomas Joseph Odo. „Popular Music in the Paterson, New Jersey General Music Classroom“. Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827718.

Der volle Inhalt der Quelle

Annotation:

This project seeks to discover ways to effectively use popular music in the general music classroom in order to have lessons be more culturally relevant, give students a better understanding of musical concepts, and increase engagement. The research methods for this thesis included review of various articles, a survey (see appendix C), and personal experience as a general music teacher. My research suggested ways for music teachers to use popular music in the general music classroom in order to keep lessons culturally relevant, give students a better understanding of musical concepts, and increase engagement. A one unit curriculum centered on popular music in the general music classroom was created using the Understanding by Design curriculum template (see appendix D). This research is important to the field of music education because effective use of popular music can help music educators in their goal of having their students understand musical concepts and be engaged throughout lessons.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

44

Li, Zheng. „Teaching Chinese Traditional music with Generative instruction and Effective music teaching“. Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34617.

Der volle Inhalt der Quelle

Annotation:

This text is the carefully adapted transcription of the recording of the presentation of Zheng Li and Huo Gua at the symposium in Leipzig 2014. Prof. Dr. Zheng Li read parts of her presentation in Chinese language alternating with her assistant Huo Gua, who translated into English. Only the English part is printed in this book. The title is given from the editor.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

45

Beam-Barber, Michelle. „The effect of music listening maps on second grade music students' preference for and understanding of orchestral music“. FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/1472.

Der volle Inhalt der Quelle

Annotation:

This study investigated the use of music listening maps to help learning and the preferences of second graders for orchestral music. Subjects were a population of four 2nd grade classes, and were randomly divided into two groups. The investigation was a counterbalanced, post-test only design, lasting for three consecutive classes. Two treatments/lessons were presented and a third lesson was a review. In Treatment 1 Group I used listening maps first, while Group II received instruction without listening maps. In Treatment 2, the order was reversed. Two post-tests and a comprehensive test were administered. An affective survey was administered after the treatments, measuring student preference and attitude. When listening maps were presented, scores were significantly higher. It did not matter whether the listening maps were presented first or not. Results of the survey show student preference will increase with music listening maps.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

46

Michel, Jimmy. „Elementary Music Teachers' Perceptions of the Effect of Budget Reductions on Music Education“. ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/4746.

Der volle Inhalt der Quelle

Annotation:

Since 2007, many U.S. music education programs have been negatively affected by budget reductions at the local, state, and national levels. Although researchers have studied the effect of budget reductions on music education, they have not widely examined the perspectives of teachers who have experienced these reductions. The purpose of this study was to explore elementary music teachers' personal and professional experiences with budget reductions, and the perceptions of how their programs, students, schools, and communities have been affected by the budget reductions. The philosophies of Kodaly and Richards served as a conceptual framework for this qualitative case study. The primary research questions asked participants about their experiences with and perceptions of the effect of budget reductions on music programs at their schools and on their students. Interviews were conducted with 9 elementary music teachers. Data were analyzed using pattern coding to identify key themes. The 6 key themes identified were love for music and teaching music; pride in music programs and curricula; belief in the benefits of music education for all students, especially for low income students; senses of loss; adaptation and coping with loss; and sense of the future. Based on the findings, a professional development program was developed to assist music teachers to learn strategies to support music programs and become effective music education advocates. This project study may foster positive social change by encouraging teachers to collaboratively advocate for music education in communities and devise strategies that will allow for the sharing of scarce resources.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

47

Snow, Michelle Hansen. „Music education and entrepreneurship: post-secondary music teacher education and value creation for individuals and communities“. Thesis, Boston University, 2012. https://hdl.handle.net/2144/12633.

Der volle Inhalt der Quelle

Annotation:

Thesis (D.M.A.)--Boston University
Entrepreneurship is a topic gaining attention within post-secondary education in the United States in a multitude of disciplines outside of the traditional business school. In the discipline of music, entrepreneurship education can be described as an approach to preparing professional musicians that considers the artistic and economic environment they will encounter upon graduation. The aim of entrepreneurship education is to help a student creatively apply her or his education, skills, passion, and vision toward creating a sustainable career in music. Entrepreneurship education may hold particular significance in the realm of music teacher preparation in post-secondary education for its potential to broaden employment opportunities for music educators and to help them create new and expanded value for individuals and communities within and beyond the pre-K-12 school settings for which music educators are traditionally prepared to work. Examples include preparation in studio teaching and community music leadership. Drawing on the historical and theoretical foundations of traditional entrepreneurship, and examining current models of entrepreneurship and entrepreneurial thinking in music education, I develop a conceptual framework for how entrepreneurship education might serve as a means of positively transforming music teacher preparation practices in post-secondary education to better meet the career needs and interests of music education majors and other music majors who aspire to teach music. Programs that are designed to create musical, social, and economic value for individuals and communities may challenge and expand current accepted definitions of "music educator" and might bring greater relevance to the aims, processes, and content involved in music teacher preparation programs. Particular attention is focused upon three entrepreneurial models of music education: the Sistema Fellows Program of El Sistema USA, Musical Futures in the United Kingdom, and the Music-in-Education concentration at New England Conservatory.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

48

Kladder, Jonathan Ross. „Re-envisioning Music Teacher Education: A Comparison of Two Undergraduate Music Education Programs in the U.S“. Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6719.

Der volle Inhalt der Quelle

Annotation:

The coursework requirements for an undergraduate music education degree in the U.S. have remained relatively unchanged since its inception in the early twentieth-century. In light of the changing milieu of the twenty-first century music learner, some scholars and researchers have suggested redesigning particular components of the music education degree. A few universities in the U.S. have reacted by implementing changes to their undergraduate music education curricula. Preliminary data and reviews of literature revealed that limited investigations into these programs existed. The purpose of this research was to investigate two established music education degree programs in the U.S. where the faculty had redesigned their curricula, while extracting similarities and differences among them. Furthermore, this study was designed to investigate the impact of these curricular changes on students and faculty. Qualitative data were collected through interviews and observations. Lewin’s (1947) Change Theory was used as the framework guiding the investigation. Data analyses and a cross-case synthesis suggested the redesigns took two to four years, which included removing courses in the general music study areas. There were four main themes extracted from these data: (1) faculty-directed process, (2) tension, (3) impetus, and (4) outcomes. These themes illuminated the challenges associated with the work and the influence of the redesign on student dispositions, experiences, musicianship, and future careers. Implications for the field of music education and suggestions for future research are provided in conclusion.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

49

Osborn, F. E. Ann. „A computer-aided methodology for the analysis and classification of British-Canadian children's traditional singing games /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143147931.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

50

Rajab, Aziza A. „A methodology for developing a nursing education minimum dataset“. [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001412.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Dissertationen zum Thema „Methodology of music education“

Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an