Thematische Bibliographien / Music in education / Dissertationen
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Dissertationen zum Thema „Music in education“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 31. Juli 2024

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1

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/.

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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.
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2

Heinrich, Lisa M. „MULTICULTURAL MUSIC EDUCATION: SECOND-GRADE STUDENTS’ RESPONSES TO UNFAMILIAR MUSICS“. Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260496852.

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Thesis (M.M.)--Cleveland State University, 2009.
Abstract. Title from PDF t.p. (viewed on Dec. 15, 2009). Includes bibliographical references (p. 52-55). Available online via the OhioLINK ETD Center and also available in print.
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3

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.

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4

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

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5

Hale, Travis L. „Becoming an educator: identity, music education, and privilege“. Diss., Kansas State University, 2018. http://hdl.handle.net/2097/38794.

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Doctor of Philosophy
Curriculum and Instruction Programs
Frederick Burrack
This study is an intertwined critical autoethnography through which my experiences, my stories, are woven together with memories of family, students, and teaching career. Together, the telling of these stories will explore how I negotiated my identity development throughout my middle and high school experiences at a time when I could have been labeled as an at-risk student. The development into my professional career and personal life all influenced strongly by my participation in music education. Filtering these stories and memories through the lens of critical whiteness theory, this study interrogates the social assumptions that may be placed on at-risk students, exploring how these assumptions function within the context of access within our current music education structures, and investigates the ways in which social support systems allow opportunities for access of white male students and privilege in music education. An overarching question guiding this research is: How does the interrogation of such white privileges inform how one develops their identity as a music educator, a researcher, an academic, a husband, a father, a human, as well as, the curricular structures in place guiding access within music education?
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6

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

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7

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.

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8

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.

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9

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.

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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.
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10

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.

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11

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

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12

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

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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.
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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.

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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.
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14

Johnson, Daniel Clinton. „The effect of critical thinking instruction in music listening on fifth-grade students' verbal descriptions of music“. Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/290007.

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The purpose of this study was to determine the effect of critical thinking instruction on the music listening skills of fifth grade students as measured by written responses to music listening examples. It was hypothesized that music listening instruction including opportunities for critical thinking (Critical Thinking Instruction, CTI) would be more effective than parallel instruction without critical thinking instruction (Activity-Based Instruction, ABI). CTI consisted of four components: musical terms and concepts, repeated music listening examples, responding activities, and opportunities for critical thinking. In contrast, ABI consisted of three components: musical terms and concepts, repeated music listening examples, and responding activities; ABI did not include opportunities for critical thinking. Both CTI and ABI treatments were taught concurrently by the same music teacher at the same school in a series of sixteen (16) forty-five (45) minute lessons. Two intact classes of subjects were randomly assigned to the CTI and the ABI treatment groups (n = 41 and 40, respectively). "Thinking and Listening," a researcher-designed dependent measure, was administered as a pretest and a posttest. Subjects' written responses were classified into three categories (i.e. musical, affective, or associative) and scored by three independent judges. Additionally, the Musical Aptitude Profile (Gordon, 1967/1995) was administered as a covariate. Significant disordinal interaction effects in subjects' responses by test by treatment were found such that CTI subjects demonstrated greater gains in musical term, associative, and total response scores from pretest to posttest than did ABI subjects. Additionally, significant main effect differences between treatment groups were found such that CTI subjects demonstrated higher musical term, affective, associative, and total response scores than did ABI subjects. Significant main effect within group differences were also found such that CTI subjects demonstrated significantly higher musical term, affective, associative, and total response scores on the posttest as compared to the pretest, while no significant main effect differences were found in ABI subjects' response scores. The positive effects of the CTI treatment, however, should be interpreted with caution based on larger than expected standard deviations and departures from normal distributions. Implications include designing music listening instruction to incorporate critical thinking skills.
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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 ‘P’s’: 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 I’s’: 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 ‘I’s’ 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 teacher’s 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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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.

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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.
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17

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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18

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.

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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.
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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.

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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.
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20

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.

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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.
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Rodríguez-Quiles, y. García José A. „Spain : current planning for music education“. Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/3212/.

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Content: 1. Introduction 2. Music in the curriculum of The Educación Obligatoria 2.1 Music in Educación Primaria - Listening and Comprehension - Music Making - Rational Analysis (Musical Notation) 2.2. Music in Educación Secundaria Obligatoria (E.S.O. Compulsory Secondary education) and Bachillerato (Pre-University Education) 3. Music in the Spanish Non-Compulsory Education 3.1. Elementary and Medium Levels 3.2. The “Title of Higher Music Education” 4. The new certificate of “Didactic Specialization” 5. Concluding remarks
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22

Beer, Luzaan. „Music education in the foundation phase“. Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.

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Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.
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Bergersen, Kristen. „Teacher Retention in Australian Music Education“. Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21489.

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This study aims to investigate whether classroom music education in Australia is experiencing challenges regarding teacher attrition, and the main factors which influence graduates to either continue classroom music teaching or to leave the profession. In this mixed methods study, 59 Australian music education graduates who have passed through their early career stage responded to a questionnaire. The questionnaire enabled close investigation and subsequent rich analysis of a significant amount of data in relation to the participants’ career trajectory and professional experiences. Interviews of eight graduates, five University lecturers, and teacher mentors equalled almost nine hours of recordings. Following recommendations in the literature, graduates past the early career stage were chosen because their time in the workforce had allowed them the opportunity to reflect on experiences as beginning teachers, and their impact on subsequent career choices. The study documents the stories of a passionate, intelligent, articulate collection of education professionals who work hard to engage and inspire Australian students. This study presents a somewhat grim and complex picture, finding that amongst those who participated there is substantial attrition which may be reflective of significant pressures and inadequate support throughout Australian education systems.
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Kiss, Boglárka. „A chronicle of school music education“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/11107.

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Thesis (D.M.A.)--Boston University
This inquiry is a chronological overview of the history of school music education in Hungary. The study explores the topic from a large-scale humanistic perspective, in which historical context, general education laws, individual institutions and music educators, as well as music curriculum, textbooks, and teaching methods serve as evidence. The chronological narrative delineates four distinct historical periods within which music education is examined: from the annexation of Hungary by the Austrians (around 1700) to the creation of the first royal edict on education in 1777; the effects and modifications of the edict and other policies from 1777 until the Compromise between Austria and Hungary in 1867; Hungary's education system from the era of the Austro-Hungarian Empire until the end of World War II; and the history of Hungarian education in the second half of the 20th century. Within each period, the study provides a general historical overview, a discussion of educational policies and laws, and specifics of music education. The latter includes the place and rationale of music in the curriculum, the content and methods of music education, and the teachers and students of the subject. This research found that for over three centuries educational laws have consistently set out to shape Hungary's culture by mandating that Hungarians learn to sing, mostly for religious or aesthetic reasons. Historically, outstanding teachers have made great strides in making this goal a reality at specific schools. Zoltan Kodaly in particular was ahead of his time with his child-centered educational ideas and commitment to teaching children a variety of musics. To date, Kodaly's approach is the only one that has realized the goals set out in the educational laws of Hungary. However, Hungary has far from succeeded in implementing Kodaly's vision, having served only those children that were enrolled in music elementary schools. For the most part, inadequate teacher training and bureaucratic hindrances have kept the majority of elementary and secondary schools from adopting his approach in its entirety. Current policies perpetuate these problems, and discourage innovation or critical review of existing practices in music education.
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Cook, Andrew S. „A poststructural investigation of music teachers and music education in film“. Thesis, Boston University, 2013. https://hdl.handle.net/2144/10970.

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Thesis (D.M.A.)--Boston University
As popular texts that circulate widely, films contribute to the way groups, individuals or ideas are understood in society. In this study I sought to explore the portrayals of music teaching in Hollywood movies, and examine the ways films might contribute to the occupational identity of music teachers. This investigation focused on four films that feature music teachers as major characters and that demonstrate a prevalent position in public consciousness as indicated by commercial success: Mr. Holland's Opus (1995), Music of the Heart (1999), Drumline (2000) and School of Rock (2002). I employed two poststructural approaches to analysis which view meaning as plural, negotiated and produced primarily by the reader's encounter with the text. One reading uses Derrida's project of deconstruction to focus on aporias, or paradoxes, and assumptions upon which texts make claims of truth. Aporias of responsibility, hospitality and the gift serve as lenses through which I investigate issues of professionalism, access and the image of the hero-teacher within music education. A second reading uses an intertextual approach to film analysis, acknowledging that texts derive meaning in part from their association and communication with other texts. Using related films, texts from popular culture and movie reviews, I investigate how these films construct images about gender, race and the value of music in schools. Exploring possible dominant, negotiated and contrary readings of these film texts, I look at a variety of possible interpretations and suggest ways that the films might be used by teachers and pre-service teachers to better understand expectations that people carry with them into the music education environment. As films may be used as sources for common-sense understandings in society, I explore how these films may act as structures to the agency of music teachers and how the negotiation of these portrayals might impact the music education environment.
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Torrance, Tracy A. „Music Ensemble Participation: Personality Traits and Music Experience“. Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7100.

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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.
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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.

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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.

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Andrianopoulou, M. „Aural education and its pedagogical conceptualisation in higher music education“. Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10043813/.

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‘Aural training’ has been a part of Western tertiary formal music education from the latter’s beginnings in the 19th century. Traditionally, it focuses on pitch and rhythm, and features the practices of solfège and dictation, which can be traced back to the work of Guido d’ Arezzo in the 11th century. Guido’s system, as well as later uses of solfège and dictation in 19th-century European and American schools and choirs, aimed to aid and facilitate musical learning for both children and adults. More recently, however, empirical research has shown music teachers and students to be often negatively predisposed towards this branch of music education, across different levels. Criticisms pertain to issues such as a perceived narrow focus on pitch and rhythm, acontextual treatment of musical material, emphasis on reproductive activities and on verbalisable musical knowledge, along with a longstanding neglect to forge links between ‘aural training’ and music psychology. During the last four decades or so, many educators across countries have proposed different approaches to broadening the content and methods of this type of course, aiming to highlight its connections with other subjects of the music curriculum and enhance its overall relevance for the music student and their future professional needs. Aiming to contribute to this discourse, the present study seeks to explore the practice of ‘aural training’ from historical, pedagogical, psychological and cultural perspectives. As a result of this investigation, a number of pedagogical principles are proposed, as a possible way of widening ‘aural training’ into a broader, more relevant and effective form of ‘aural education’. Findings emphasise the multi-faceted and subjective character of our relationship to music; the inter-connection between different ways of experiencing musical sound; the ubiquitous presence of emotion in all of these; the richness of implicit forms of knowing; and the inestimable importance of assimilated aural experience for learning, performing and improvising music. A more holistic approach, which will acknowledge the richness of our relationship to music and be rooted in absorbed aural experience, is proposed as a possible alternative to 'aural training'.
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Vogelgesang, Anna Ruye. „An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes“. Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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Casto, Trevor W. P. „Urban Music Education: Alternative Experiences in the Middle School General Music Classroom“. The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391616004.

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31

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.

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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.

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

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

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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.
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Sangiorgio, Andrea. „Collaborative creativity in music education : children's interactions in group creative music making“. Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.

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This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in Rome, Italy. A group of eight 5-7-year-old children participated over eight months in 30 weekly sessions of group creative activities in music and movement. I was the teacher researcher and worked with a co-teacher. This exploratory, interpretive inquiry was framed by sociocultural perspectives on learning and creativity. A qualitative research methodology was adopted, which combined methodological elements derived from case study research, ethnographic approaches, and practitioner research. Data collection methods included participant observation, video-recording of sessions, documentation, and strategies for eliciting children's meanings. Thematic analysis, both theory-driven and data-driven, was conducted in order to identify relevant issues. The findings of the study suggest that in creative collaborative work in music bodily interactions and musical interactions have a stronger significance than verbal interactions. A conceptual distinction was made between 'cooperative' vs 'collaborative' which helped to characterise the different degrees of interactivity in the group's creative work. The study identified a range of component aspects which influenced the quality and productivity of children's collaborative interactions. These included: children's characteristics, context and setting, pedagogical approach, task design, collaboratively emergent processes, underlying tensions in creative learning, reflection on and evaluation of creative work, and time. Children actively gave meaning to their group creative music making mostly in terms of imagery and narrative, though they were gradually shifting towards more purely musical conceptualisations. Creating music in groups had the potential to enhance their sense of competence, ownership and belonging, and supported ethical values such as promoting the person, freedom, responsibility, a multiplicity of perspectives, and democracy. Three meta-themes run throughout the findings of the study, which are in line with sociocultural perspectives: i) a systems perspective as necessary to gain a more comprehensive view of collaborative creativity; ii) creativity as an inherently social phenomenon, and iii) creativity as processual and emergent. The implications for pedagogical practice highlight the importance of including creative collaborative activities in the music curriculum.
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Sieger, Crystal Anne. „Identity Perceptions of Music Performance/Music Education Double Majors: A Qualitative Study“. Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/268353.

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Undergraduate students who double major in music performance and music education often face issues with identity perception unlike those of their single-major counterparts. As they simultaneously develop both identities, double majors cope with additional challenges as they determine who they are and who they hope to become. Some easily adapt to both identities--incorporating values of both majors to create a well-rounded persona--while others struggle to find balance between the two identities. The purpose of this study was to investigate the early stages of performer-teacher identity by examining double majors in various stages of their programs of study who aspire to become a performer and music educator. Using individual and focus-group interviews and e-mail prompts, I investigated the experiences of five undergraduate students majoring in music education and music performance. Participants were asked to describe influences that led them to the double major. They were also asked to consider which of their majors they felt to be more prominent, and how they intended to utilize each major in their future. Participants also described qualities of ideal performers and teachers. They responded to questions regarding training received and perceptions of superiority and inferiority within the school of music. Six themes emerged from the analysis. I found that participants were enveloped in varying degrees of blended musician identity depending on the length of their experience. Participants had been socialized primarily by family and teachers, and secondarily by applied professors and practical experiences. They felt most like performers or teachers when involved in hands-on experiences, and those experiences that were considered in real-life situations were the most helpful in identity development. Participants expressed concerns regarding heavy workloads and their ability to develop adequate skills for success. I also discovered a tendency of participants to cater to the perceptions of those within their environment. Concern for the opinions of others often led to a superiority/inferiority conflict between performance majors and music education majors both within and across applied studios. Implications for music school faculty and music students are included.
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Ballantyne, Julie. „Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers“. Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16074/1/Julie_Ballantyne_Thesis.pdf.

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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation. The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth. Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.
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Ballantyne, Julie. „Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers“. Queensland University of Technology, 2005. http://eprints.qut.edu.au/16074/.

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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation. The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth. Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.
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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.

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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.
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Royo, Johanna Lucia. „Self-Efficacy in Music Education Vocal Instruction: A Collective Case Study of Four Undergraduate Vocal Music Education Majors“. Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/320010.

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While much research exists on self-efficacy in music programs, few research studies have qualitatively examined the impact of vocal performance settings on music education majors' self-efficacies and career goals. This collective case study examines the self-efficacy perceptions of four undergraduate vocal music education students in five vocal performance and rehearsal settings: (a) voice lessons, (b) studio classes, (c) choral rehearsals, (d) choral performances, and (e) juries. During a spring semester at a major university in the southwestern United States, I examined how participants' perceptions of their family backgrounds, career goals, lifestyles, peers, and student-teacher relationships influenced their vocal self-efficacy perceptions and music career goals. Data collection included observations, individual interviews with participants, and one focus group interview. Coding methods were used to analyze the interview transcripts and observation field notes. Triangulation, peer review, and member checks of transcriptions were used to ensure accuracy. Findings are documented case-by-case and as cross-case themes. I found that mastery experiences and family support during adolescence influenced participants' initial decisions to major in music but had little influence on vocal self-efficacy during the study. Secondly, self-efficacy changes noted throughout the study influenced participants' career goals. Other emergent themes included the role of memory, teacher feedback, concept comprehension and socialization. I conclude with cross-case themes and offer ideas for future self-efficacy research.
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Kwami, Robert Mawuena. „African music, education and the school curriculum“. Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1989. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296838.

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41

D'Alton, John Patrick. „Edward Johnson and music education in Canada“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ27491.pdf.

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42

Akapelwa, Emma Ziweyi Mwangala. „Problems of music education : a comparative study“. Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336035.

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43

Anderson, Kirstin. „Music education and experience in Scottish prisons“. Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/9598.

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This research presents the first empirical study of music provision in Scottish prisons and explores the potential benefits of music engagement for prisoners, with a focus on young offenders’ experience. The scope of the study begins with an investigation into music provision in prisons throughout Scotland by means of a small-scale survey. This survey showed that despite a lack of documentation, music is currently present in Scottish prisons and has been previously, albeit intermittently. Music provision included a range of activity: learning how to play musical instruments, singing, music theory, song-writing and composition. Subsequently, two music intervention studies were conducted with young offenders at HM Young Offenders Institution Polmont. The first study was a ten-week project with three participant groups: a music group, an art group and a control group. Pre- and post-interviews and measures were used to assess participants’ self-esteem, self-control, behaviour, literacy skills and engagement with education. Numerous difficulties were identified with conducting such research in a prison environment, including the recruitment process and using standard assessment measures. However, results from the small number of men involved showed!an increase in engagement with education for all three groups during the project and a steady continued increase in education engagement for the music group after the project ended. Additionally, the music and art groups showed a small increase in mean scores for self-esteem, positive emotions reported and self-control. The second study examined two music interventions with young offenders as part of the year-long Inspiring Change pilot project. This study used interviews and session review forms with education staff and arts practitioners to document the process of the organisations involved in the planning and implementation of the projects. Focus groups with young offenders were carried out to gather their opinions of the programmes. Participants expressed that they especially appreciated the high level of professionalism of the arts practitioners, working as a group, and being recognised as making an individual contribution towards a final project. In addition to the survey and intervention studies, a Knowledge Exchange workshop was designed for music tutors in Scottish prisons to meet, learn about research on music in prisons, and exchange ideas for best practice. A workbook and afternoon workshop format was investigated in terms of its effectiveness and was found to be beneficial for music tutors in learning more about the research and practice of teaching music in prisons. This thesis contributes to the developing research on the benefits of music provision for prisoners and provides a baseline of music provision in Scottish prisons for further study.
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Wallbaum, Christopher. „Summary comparing normative constellations in music education“. Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34646.

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This summary connects parts of nearly every chapter of the book with a thick brush regarding normative constellations. Comparing the constellations shows both, how practices within lessons are normatively connected with practices in other social fields, and that there are fractures that show a need for further research. In conclusion I sketch a model for comparative praxial music education.
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Schoning, Marelie. „The Role of Singing in Music Education“. Diss., University of Pretoria, 1993. http://hdl.handle.net/2263/64956.

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English: The singing ability of youths in South Africa, Germany, Great Britain and United States of America is poor. This implies that the merits of singing are not accentuated and that singing is not used optimally in general and formal music education. This also has an effect on multicultural music education. The success of folk song singing depends on successful singing activities. The primary reason for the poor singing of youths can be found in unstructured singing. The merits of singing in formal music education include the development and improvement of: * singing accuracy and correctness * aural training * inner hearing * sight reading skills * sight singing skills * pitch discrimination * speedy memorization. Effective use bf the singing voice in formal music education includes: singing themes, motives and phrases. This can ensure a practical, music-making approach to aural training, music theory, harmony, composition, form, counterpoint and solo instrument studies. By means of an initial singing programme, young aspiring musicians could be introduced to formal music education. By means of a music ability test which consists mainly of singing, a teacher could make recommendations regarding the viability of continued formal music studies. The merits of singing in general music education include: *the development of the voice as each child's primary musical instrument * the experience of success regardless of the level of technical singing ability * opportunities for self-expression are created * the expansion of pupil's repertoire * the transfer of culture * the ability to listen selectively, to concentrate, to react and to evaluate * aural training with respect to melody, rhythm, harmony, form and dynamics * an awareness of and facility in language. Structured singing ensures that sufficient attention is given to: * the quality of singing * good choice singing material and song teaching methods * singing enrichment * singing evaluation. Structured singing enables the teacher to identify and develop individual musical talent. For multicultural music education in South Africa to succeed, emphasis should fall on singing folk songs of the different microcultures in South Africa. This is facilitated by taking notice of folk song singing in African, Afrikaans and English communities.
Afrikaans: Die sangvermoe van jeug in Suid-Afrika, Duitsland, Brittanje en die Verenigde State van Amerika is swak. Dit impliseer dat onvoldoende klem op die meriete van sang geplaas word en dat sang daarom in algemene musiekopvoeding en formele musiekonderig nie optimaal benut word nie. Dit het ook 'n uitwerking op multikulturele musiekopvoeding, aangesien suksesvolle sang 'n voorvereiste is vir geslaagde volksliedsang. Die hoofrede vir swak sangvermoe van jeug is ongestruktureerde sang. Die meriete van sang in formele musiekonderrig behels ontwikkeling en verbetering van: * sangakkuraatheid en -korrektheid * gehoorsopleiding * innerlike gehoor * bladleesvermoe * bladsangvermoe * toonhoogte-onderskeiding * die spoed van memorisering. Die effektiewe gebruik van die sangstem in formele musiekonderrig sluit in: die sing van temas, motiewe en frases. Dit kan daartoe lei dat gehoorsopleiding, musiekteorie, harmonie, komposisie, vormleer, kontrapunt en solo instrumentale studies meer ingestel is op musiekmaak. Jong aspirante rnusikante kan deur rniddel van 'n sangprogram, met forrnele rnusiekonderrig begin. 'n Musiekvaardigheidstoets wat hoofsaaklik op sang berus, kan 'n aanduiding gee vir die wenslikheid van voortgesette forrnele rnusiekonderig. Die meriete van sang in algemene musiekopvoeding behels die: * ontwikkeling van die stern as die kind se prirnere rnusiekinstrurnent * belewing van sukses ongeag die vlak van tegniese sangvaardigheid * skep van geleenthede vir selfekspressie * uitbrei van leerlinge se liedereskat * oordrag van kultuur * inskerp van die verrnoe om selektief te luister, te konsentreer, te reageer en te evalueer * ontwikkeling van gehoor ten opsigte van rnelodie, ritrne, harrnonie, vorm en dinamiek * verwerwing van taalbewustheid and -vaardigheid. Gestruktureerde sang impliseer dat voldoende aandag spandeer word aan: * die kwaliteit van sang * goeie keuse sangrnateriaal en liedaanleerrnetodes * sangverryking * sangevaluering. Vir 'n suksesvolle Suid-Afrikaanse multikulturele musiekopvoeding, behoort voldoende klern op die sing van volksliedere van die verskillende kulture in Suid-Afrika te val. Dit kan deur kennis van, respek vir, en bemoeienis met volksliedsang in swart, Asiatiese, Afrikaanse en Engelse gemeenskappe bewerkstellig word.
Dissertation (MMus)--University of Pretoria, 1993.
Music
MMus
Unrestricted
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46

Ford, Sarah Elizabeth. „Music Education for Adolescents in Residential Treatment“. University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1208202346.

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47

Mercavich, Charles James. „Survey of music executives in higher education /“. The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487267024998257.

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Betts, Steven Lee. „Lynn Freeman Olson's contributions to music education /“. Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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Kangron, Ene. „Teaching music through active participation and involvement in music making“. Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34623.

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The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.
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50

Lowther, Gail Elizabeth. „A comparison of the United States' National Music Standards and England's National Music Curriculum“. Bowling Green, Ohio : Bowling Green State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1236804608.

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