Dissertations / Theses on the topic 'Music – Africa – Study and teaching'
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Mangiagalli, Carla. "African music in the FET curriculum : an investigation into teaching strategies and the development of a technological resource." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/16614.
Full textENGLISH ABSTRACT: The South African Department of Education (DoE) recently introduced a new curriculum for schools. This curriculum, namely Curriculum 2005 (C2005), and later revised as the National Curriculum Statement (NCS), is functional at a national level in South Africa and claims to be a more equitable curriculum than its predecessor by incorporating a philosophy that accommodates all South African learners from diverse cultural and ethnic backgrounds. C2005 (NCS) promotes the principles of outcomes-based education (OBE) and shows a high regard for the Constructivist Learning Theory. In 2006 teachers will be expected to implement the Further Education and Training (FET) Band of the NCS. This study critically investigates C2005 (NCS) with the view to an improved understanding of multicultural education. The focus then turns towards music education by reviewing suggested teaching practices for multicultural music education. Following this is a thorough exploration of several approaches for the teaching of music from diverse cultures with an examination of the various appropriate models for music teaching. However, certain issues arise within the South African context as to whether music teachers have had the necessary preparation for the effective implementation of the prescribed music syllabus of the FET band. The prescribed music syllabus of the FET band includes a variety of musical genres and styles. This analysis culminates in a reflection on African music, which includes an investigation of how African music functions within traditional African societies and an approach for the effective transmission of African music in schools is proposed. Also, arising from numerous reviews concerning the teaching of African music, are opposing convictions that afford the reader an opportunity for creative thought. The lack of adequate didactical resources for the teaching of African music has resulted in a keen interest by the author in employing technology for instructional purposes. This study concludes by exploring recommendations concerning the design of an effective instructional programme that relies on technology and discusses the development of an appropriate technological resource for the teaching of African music.
AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse Onderwys Departement het onlangs ‘n nuwe kurrikulum aan skole bekendgestel. Hierdie kurrikulum, naamlik Kurrikulum 2005 (K2005), en later die Nasionale Kurrikulum Verklaring (NKV), is van toepassing op nasionale vlak in Suid-Afrika en maak daarop aanspraak om ‘n meer regverdige kurrikulum as sy voorganger te wees deur ‘n filosofie te bevat wat alle Suid-Afrikaanse leerders uit verskillende kulturele en etniese agtergronde akkommodeer. K2005 (NKV) bevorder die beginsels van Uitkoms Gebaseerde Onderwys (UGO) en vertoon ‘n hoë affiniteit vir die Konstruktiewe Leerteorie. Dit sal van onderwysers verwag word om in 2006 die Verdere Onderwys- en Onderrigband van die NKV te implementeer. Hierdie tesis ondersoek K2005 (NKV) krities met die oog op ‘n verbeterde begrip vir multikulturele onderwys. Die fokus skuif dan na musiekopvoeding met ‘n oorsig oor voorgestelde onderwyspraktyke vir multikulturele musiekopvoeding. ‘n Deeglike bespreking van verskeie benaderings vir die onderrig van musiek van verskeie kulture volg dan, asook ‘n ondersoek oor verskillende toepaslike modelle vir musiekonderrig. Sekere kwessies ontstaan egter binne die Suid- Afrikaanse konteks waarby daar gevra word of musiekonderwysers oor die nodige voorbereiding vir die effektiewe implementering van die voorgeskrewe musiekkurrikulum van die VOO-band beskik. Die voorgeskrewe musiekkurrikulum van die VOO-band sluit ‘n verskeidenheid musiekgenres en -style in. Hierdie analise word gevolg deur nadenke oor Afrika musiek, wat ’n ondersoek insluit na die wyse waarop Afrika-musiek binne die tradisionele Afrika-gemeenskap funksioneer. Voorstelle vir die benadering van Afrika-musiek in skole word gemaak sodat die effektiewe oordrag van Afrikamusiek verseker sal word. In hierdie bespreking word teenstrydige opinies wat na vore kom in die talle oorsigte oor die onderrig van Afrika-musiek, voorgehou. Dit bied die leser ‘n geleentheid tot kreatiewe denke. Die gebrek aan geskikte didaktiese bronne vir die onderrig van Afrika-musiek het gelei tot ‘n groot belangstelling by die navorser oor die gebruik van tegnologie vir onderrigdoeleindes. Hierdie studie sluit af met ‘n ondersoek na die ontwerp van ‘n effektiewe onderrigprogram wat op tegnologie gebaseer is, en met ‘n bespreking van die ontwikkeling van ‘n geskikte tegnologiese bron vir die onderrig van Afrika-musiek.
Malan, Sandra Ruth. "Celebrating cultural diversity : implementing an integrated approach to arts and culture in the intermediate phase of curriculum 2005." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16384.
Full textENGLISH ABSTRACT: Since its inception, educators across the board in South Africa have struggled to implement the new curriculum. Initial problems with terminology and availability of learning materials have been addressed, but still the resistance to Outcomes Based Education (0BE) and Curriculum 2005 (C2005) continues. Some of the reasons for the resistance point to feelings of disempowerment experienced by generalist and specialist educators who now have to teach the new Learning Area Arts and Culture. This has been attributed to, amongst others, a lack of training, resulting in feelings of inadequacy, inappropriate training for large multicultural classes and the lack of teaching resources. Another reason for the resistance has been described as a resistance to change. Many educators have found it difficult to make the paradigm shift from the previous educational system to OBE and C2005. The aim of the study is to research and explore ways of empowering educators to teach Arts and Culture. The new educational system is geared to redressing the imbalances of the past and giving more expression to the diversity of cultures represented in South African schools. Whereas the previous system was founded on exclusively Eurocentric ideology, principles and values, the new system aims at a more inclusive Afrocentric approach. However, criticisms leveled at C2005 have suggested that it is still basically Western in terms of values, terminology and methodology. This study is therefore aimed at investigating a culturally diverse music/arts curriculum, which draws on the wealth of resources, methods and modes readily accessible in South Africa. A comprehensive literature review guides the study towards a greater understanding of how cultural identities are formed out of a need to belong and how important recognition is to individuals and groups, particularly in terms of their diverse cultural expressions. Music and the arts are understood as being vitally important channels for expression of this diversity. Yet, true to the Afrocentric principle of holism, unity is found in diversity. As much common ground exists between an integrated approach and an Afrocentric approach to music/arts education, these principles are explored to determine whether they can be adapted for use in contemporary South African classrooms. An integrated project mode, which provides a balance between the specific knowledge contexts of the various Learning Areas and collaborative learning aimed at developing the natural links between learning areas to create a vibrant whole, is suggested. The researcher conducted an integrated project at her school with the common theme of "District Six" linking four Learning Areas and their components. Participatory action research using qualitative methods such as questionnaires were used to determine the feasibility of an integrated project mode of learning as a means of empowering educators to teach Arts and Culture. Subsequently recommendations were made regarding implementation.
AFRIKAANSE OPSOMMING: Sedert die instelling van die nuwe kurrikulum in Suid-Afrika het opvoeders gesukkel om dit te implementeer. Die aanvanklike probleme met terminologie en die gebrek aan geskikte bronne is aangespreek, maar die weerstand het nie verminder nie. Van die redes hiervoor verwys na gevoelens van ontmagtiging onder algemene en gespesialiseerde opvoeders wat die nuwe leergebied van Kuns en Kultuur moes aanbied. Die weerstand word toegeskryf aan, onder andere, gevoelens van ontoereikendheid, onvanpaste opleiding om met groot multi-kulturele klasse te werk en 'n gebrek aan onderrigbronne. 'n Ander rede is beskryf as teëstand teen verandering. Baie opvoeders het dit moeilik gevind om die paradigma-skuif te maak vanaf die vorige stelsel na Uitkoms Gebaseerde Onderwys (UG0) en Kurrikulum 2005 (K2005). Die doel van die studie is dus om navorsing te doen en ondersoek in te stel na maniere waarop opvoeders bemagtig kan word om Kuns en Kultuur aan te bied. Die nuwe opvoedingstelsel is gefokus op regstelling van die onewewigtighede van die verlede en op 'n groter uitdrukking van die kulturele diversiteit wat in Suid-Afrikaanse skole verteenwoordig is. Terwyl die vorige stelsel gebaseer was op 'n Eurosentriese ideologie, beginsels en waardes, is die nuwe gefokus op 'n Afrosentriese benadering. Tog is daar kritiek teen Kurrikulum 2005 juis omdat dit nog altyd gebaseer is op Westerse waardes, terminologie en metodes. Die studie gaan dus oor 'n kurrikulum vir musiek en die kunste wat inspirasie put uit die rykdom van Suid-Afrikaanse bronne, metodes en modusse. 'n Omvattende literatuur oorsig voer die studie tot die begrip dat kulturele identiteit gevorm word uit 'n behoefte om te behoort en deel te wees, hoe belangrik erkenning van individue en groepe is, veral om hul diverse kulturele identiteit uit te druk. Eie aan die Afrosenstriese beginsel van holisme kan eenheid binne diversiteit gevind word. Omdat daar baie gemeenskaplikheid bestaan tussen 'n geïntegreerde en 'n Afrosentriese benadering tot musiek/kuns opvoeding, word die beginsels verken om te bepaal of dit aangepas kon word vir gebruik in hedendaagse Suid- Afrikaanse klaskamers. 'n Geïntegreerde projek-modus word voorgestel, wat 'n balans skep tussen die spesifieke kontekste van kennis in verskeie Leerareas en koöperatiewe leer wat daarop gemik is om die natuurlike skakels tussen die verskillende Leerareas te ontwikkel sodat 'n groter geheel geskep word. Die navorser het by haar skool 'n geïntegreerde projek oor Distrik Ses geloods wat vier leergebiede, insluitend hul komponente, ingetrek het. Deelnemende aksie-navorsing soos vraelyste is gebruik om die uitvoerbaarheid van die geïntegreerde projek-metode te bepaal as 'n metode om opvoeders te bemagtig om Kuns en Kultuur by skole aan te bied. Dit sluit af met voorstelle wat gemaak is in verband met die implementering van die nuwe Kurrikulum.
Wakaba, Philip N. "Preserving traditional Agikuyu music : the development of a comprehensive teaching guide." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536757.
Full textTitles of accompanying sound discs. Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music.
Access to thesis permanently restricted to Ball State community only
Titles of accompanying sound discs: Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music.
School of Music
Roux, Mignon. "Bemagtigingsopleiding vir kuns en kultuur-opvoeders : implementering van tradisionele Kaapse liedere." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/21906.
Full textENGLISH ABSTRACT: The research for this thesis was conducted because many educators in the South African education system are not equipped to teach Arts and Culture to primary and secondary learners because of a lack of resources and skills. The researcher tries to determine whether traditional songs of the Cape could lay the foundation to understand the origin, functions and dynamics of a culture, as well as the capacity to use creative arts- and cultural processes to develop one's self-image and promote spiritual well-being. The main aim of this study was to determine whether educators can be empowered by providing them with the necessary skills to teach Arts and Culture by means of the integration and implementation of traditional songs of the Cape in the classroom as resource materials when planning a curriculum. Arts and Culture educators were empowered to equip themselves to be able to teach learners to understand, acknowledge and promote the arts and unknowncultural practices such as traditional songs of the Cape. The researcher based the component of the Empowerment Training she was responsible for on the requirements for Participatory Action Research: Awareness, Emancipation, A learning strategy for participants and the development of independence. The results of this thesis are based on two projects the researcher participated in. The main aim of the first project, "Mother's Milk, Mother's Muse" that was initiated by Professor Meki Nzewi of the University of Pretoria, was to collect traditional songs, games, legends and stories of the Cape. These materials are available on CD and DVD and included in this thesis. These were then used in the second project as resources to equip Arts and Culture educators with a variety of skills, which include the teaching of songs, during the Advanced Certificate in Education (Arts and Culture) at the University of Stellenbosch, offered since 2005. This thesis is a compiliation of how Arts and Culture educators were empowered to use and implement these materials in the learning area by the component in the ACE course for which the researcher was responsible.
AFRIKAANSE OPSOMMING: Die feit dat baie opvoeders weens ongebrek aan hulpbronne en vaardighede nie volledig toegerus is om die leerarea Kuns en Kultuur aan leerders op primere- en sekondere vlak aan te bied nie, het aanleiding gegee tot die navorsing vir hierdie tesis. Die navorser stel ondersoek in om te bepaal of tradisionele Kaapseliedere as basis sou kon dien vir on begrip van die oorsprong, funksies en dinamiese aard van kultuur, asook van die vermoe om kreatiewe kuns en kulturele prosesse te benut om 'n selfbeeld te ontwikkel en geestelike gesondheid te bevorder. Die doel van hierdie ondersoek was om vas te stel of opvoeders bemagtig kon word deur hulle toe te rus met basiese onderrigtegnieke om die leerarea Kuns en Kultuur te kan aanbied, deur die integrasie en implementering van tradisionele KaapseIiedere in die klaskamer en die insameling van liedere as hulpbronne wat tot opvoeders se beskikking is tydens kurrikulumbeplanning. Bemagtigingsopleiding is aan Kuns en Kultuur-opvoeders gebied ten einde hulself toe te rus om leerders te kan touwys maak hoe om die kunste asook kulturele vorms en gebruike wat histories nie erkenning kry nie, in hierdie geval tradisionele Kaapseliedere, te erken, verstaan en bevorder. Riglyne vir Deelnemende Aksie Navorsing, naamlik bewusmaking, emansipasie, 'n leerstrategie vir deelnemers en die ontwikkeling van selfstandigheid is as basis gebruik vir die bemagtigingsopleiding. Die navorser was betrokke by twee projekte waarop die resultate van hierdie tesis gebaseer is. Die hoof doeI van die eerste projek, "Mother's Milk Mother's Muse", was om tradisionele Kaapse liedere, speletjies, legendes en stories in te samel. Tydens die tweede projek, die Gevorderde Onderwyssertifikaat (Kuns en Kultuur) wat vanaf 2005 by die Universiteit Stellenboseh aangebied word, is die ingesamelde materiaal onder andere gebruik om verskillende tegnieke, waaronder die aanleer van liedere, aan opvoeders te demonstreer. Die materiaal wat ingesamel is, is op CD en DVD by hierdie tesis ingesluit. Hierdie tesis is onsamevatting van die maniere waarop Kuns en Kultuur-opvoeders deur middel van die komponent waarvoor die navorser in die GOS-program verantwoordelik was bemagtig is om hierdie materiaal te ontgin en in die leerarea te implementeer.
Mbusi, Nokwanda Princess. "An investigation into the use of traditional Xhosa dance to teach mathematics: a case study in a Grade 7 class." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003499.
Full textGreco, Mitchell J. "THE EMIC AND ETIC TEACHING PERSPECTIVES OF TRADITIONAL GHANAIAN DANCE-DRUMMING: A COMPARATIVE STUDY OF GHANAIAN AND AMERICAN MUSIC COGNITION AND THE TRANSMISSION PROCESS." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398073851.
Full textKoch-Locner, Aletta Maria. "Music for early childhood : guidelines for parents in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/19635.
Full textENGLISH ABSTRACT: The research for this thesis is presented in the form of a practical guideline for parents and educators in the Western Cape area. The important role of music in early childhood is emphasised throughout. Research, guidance and practical activities for the music education and development of the toddler and preschooler, are presented. The author answers and discusses the questions frequently asked by parents concerning musical education for their children, namely why, when and how, in the five chapters of the thesis. The importance of music education for children (the question concerning why) is discussed and emphasised by means of eleven different reasons supported by research. In Chapter 2, the important role of the parent as the child’s first music educator and prenatal stimulation is discussed (the question concerning when). In the two chapters that follow, the author provides parents with information about basic music concepts and skills that children should be able to master at specific ages. Throughout these chapters, practical activities to illustrate these concepts and to practise the relevant skills are suggested (the how question). Guidelines are presented concerning how play with the child should be approached and handled, as well as guidelines for the child’s first formal instrumental teaching and for choosing an instrument and a music teacher. The research is concluded with a practical section containing extensive lists of songs (in categories), CDs, DVDs, books and web addresses for the use of parents needing resources and further guidance.
AFRIKAANSE OPSOMMING: Die navorsing vir hierdie tesis word in die vorm van ‘n praktiese handleiding vir ouers en opvoeders in die Wes-Kaap provinsie aangebied. Die belangrike rol van musiek in die voorskoolse kind se lewe word deurgaans beklemtoon. Navorsing, riglyne en praktiese aktiwiteite vir die musiekopvoeding en ontwikkeling van die voorskoolse kindword, word prakties aangebied en bespreek.Die outeur beantwoord en bespreek die vernaamste vrae wat ouers ten opsigte van musiekopvoeding vir hul kinders vra, naamlik hoekom, wanneer en hoe, in die vyf hoofstukke van die tesis. Die belangrikheid van musiekopvoeding vir kinders (die hoekom vraag) word aan die hand van elf verskillende redes en wat deur navorsing ondersteun word, bespreek. Die belangrike rol van die ouer as eerste musiekopvoeder en prenatale stimulasie word in Hoofstuk 2 bespreek (die vraag aangaande wanneer). In die twee daaropvolgende hoofstukke bied die outeur verdere inligting aan ouers oor basiese musiekkonsepte en vaardighede wat kinders op sekere ouderdomme moet kan bemeester. Praktiese aktiwiteite om hierdie konsepte te illustreer en die verlangde vaardighede te oefen (die hoe vraag) word deurgaans voorgestel. Riglyne word gegee oor hoe spel met die kind benader en hanteer moet word, asook riglyne vir die kind se eerste formele instrumentale onderrig, die keuse van ‘n instrument en van ‘n musiekonderwyser. Die navorsing word afgesluit met ‘n praktiese afdeling waarin uitgebreide lyste van liedjies (volgens verskillende kategorieë), beskikbare CD-opnames, DVD-opnames, boeke en webadresse vir ouers gegee word as bronne en as verdere riglyne.
Dumpson, Donald. "FOUR SCHOLARS' ENGAGEMENT OF WORKS BY CLASSICAL COMPOSERS OF AFRICAN DESCENT: A COLLECTIVE CASE STUDY." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/261236.
Full textPh.D.
The purpose of this research was to investigate ways classical composers of African descent have been included in the mainstream academic canon. I examined the insights of four scholars who have been committed to including classical composers of African descent throughout their music careers. The initial research questions of this study were: 1) How do participants describe their frameworks for making the commitment to include classical composers of African descent throughout their careers? 2) What have been the challenges and benefits associated with their commitment? 3) What might contemporary scholars view as strategies for integrating classical composers of African descent into the mainstream academic canon? Four musicians, who have contributed to the scholarship related to classical works by composers of African descent in very different ways, participated in this qualitative collective case study: Dr. Ysaye Maria Barnwell, a composer and performer; Dr. Dominique-Rene de Lerma, musicologist; Dr. Anthony Thomas Leach, educator, conductor, and organist; and Mr. Hannibal Lokumbe, composer, trumpeter, and visionary. Through two in-depth interviews with each of the four scholars, a related question emerged: How have the participants contributed to the inclusion of classical composers of African descent throughout professional careers and personal lives? I transcribed the interviews, returned them to the participants for member checks, and prepared final, revised transcripts based on their feedback for analysis. I examined the interview data to obtain a collective representation related to the research questions. I analyzed the data for emerging codes, categories, and themes until details considered substantive to the research emerged. Themes that emerged focused on the need to identify the importance of seeing the contributions for classical composers of African descent from an Afrocentric as well as a Eurocentric perspective; the impact of the Civil Rights Movement on how each participant engaged the music throughout their lives; the importance of informal and formal education and the roles family, community, and school played in their relationship with the music they shared; and, the significance of creating access to their works through publications and professional associations.
Temple University--Theses
Cromwell, Robert G. "Consuming music and teaching music : a case study in creativity." Thesis, Loughborough University, 1995. https://dspace.lboro.ac.uk/2134/7001.
Full textSisley, Beth Ann. "A Comparative Study of Approaches to Teaching Melodic Dictation." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216237008.
Full textMnukwana, Ncebakazi Fezeka. "An emergent model of the teaching of iingoma zamagqirha based on three case studies in the Western Cape, South Africa." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8140.
Full textlingoma zamagqirha is a Xhosa musical art often taught at workshops to introduce learners to the indigenous knowledge systems of the amaXhosa of South Africa. It is also a musical art which is performed in both sacred and secular environments. As such iingoma zamagqirha could be suitable for classroom teaching in South African schools and the oral methods embedded in the teaching of indigenous knowledge systems could provide guidelines to teachers who are required by the South African government to incorporate indigenous musical practices in their everyday teaching. This study's two primary objectives are therefore objective (a) is to analyse the inherent teaching method displayed by three performing artists and teachers of emergent teaching method through the fieldwork study. The secondary objective is to nurture a debate on the conservation of indigenous knowledge system and worldview as the educational discourse still tends to focus on Western music as the dominant culture.
Chan, Edmund Sze Shing. "Music teachers' concern of inclusive music teaching scale: development, validation and correlates." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/308.
Full textFuriani, Dominic Michael. "Informal Teaching and Learning Practices in a Traditional Jazz Ensemble| A Case Study." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978203.
Full textNon-traditional music ensembles have emerged in public school classrooms as part of a larger effort to facilitate informal learning in school music. In this multi-instrumental case study, twenty-two member jazz ensemble composed of 10-12th grade students embarked on an aural learning activity. In this study, I examine the teaching and learning styles that emerged from the participants to gain a better understanding of informal learning practices and how they manifest in a formal learning environment. Data collection included twenty-two student surveys and one semi-structured interview of the participating teacher. In addition, video recordings of instruction, field notes, and in class memos were composed while observing the teacher and students. All data were coded using open and axial processes. The data are divided into two sections—the teacher’s experience which highlights teaching strategies and implementation procedures and the students’ experiences which focused on affective perception, the learning process, social/communal responses, and achievement. Findings indicate that a teacher who is implementing an aural learning activity into a large ensemble setting may adopt a different teaching style in order to create an authentic informal learning experience for the students. When authentically placing informal methods into a formal learning environment, students rely more on self- and peer-teaching, which led to heightened social and communal responses. These findings are linked to this specific aural learning activity, and future research in other settings with different activities may yield alternative results. Additional research which may include sharing of new activities, experiences and teaching strategies may benefit all teachers in blending informal and formal learning practices.
Beer, Luzaan. "Music education in the foundation phase." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.
Full textMontocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.
Full textVan, Rensburg Adriana Janse. "Songwriting in adolescence : an ethnographic study in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/20901.
Full textENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curricula in keeping with current curriculum development strategies. Adolescents’ engagement in music is considered as a socio-cultural phenomenon. Individuals’ interaction with music is thus considered on Doise’s (1986:10-16) four levels of social explanation: the intra-personal, the interpersonal, the positional level and the ideological level. On the intra-personal level music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy and mood control and technology of the body. On the inter-personal level music is discussed as a form of self-expression serving as communicative form. On the positional level music’s role in bonding between individuals, namely social cohesion, is expounded. Lastly, on the ideological level, music is considered as part of youth, youth culture and cultural identity. The compositional (songwriting) process is analyzed. Compositional modes, individual and collaborative, are identified and described and the creative process namely composing, is delineated according to creativity, creativity as social formation, creativity as process and the role and nature of informal learning. Adolescents use the process of songwriting to establish and enhance social cohesion, to further communication and expression with peers and to exert creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General perspectives and theories about musical analysis are addressed to include a broader, socio-cultural view of analysis to analyze adolescent music. The musical and lyrical features are analyzed within the context of their socio-cultural setting. The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of popular music analysis are applied in combination with Goodwin’s (1992) soundimage model, synaestesia, to expand on the socio-cultural context of popular music analysis. The implications of musicology namely “formal music education” versus popular music styles and the effects of formal and informal learning strategies on songwriting are considered. A new understanding of musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role that locality plays in this analysis is expounded. The role of notation and playing by ear is set out to validate the adolescents’ creative product. The research methodology employed in this research include group discussion, observation, experience sampling method (adapted from Larson & Csikszentmihalyi, 1983) and individual interviews and are described according to methodology, results and analysis of the results. General perspectives on music education curricula are considered in light of the possible contribution songwriting, as an informal learning activity, could bring to music education as composition is currently a high priority in international music education discourse and features prominently in current curricula. Recommendations and conclusions are made.
AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf in adolessensie fenomenologies te beskryf om sodoende die implikasies vir musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer. Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met inagneming van huidige kurrikulumontwikkeling strategieë. Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise (1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike vlak word musiek beskou as ‘n tegnologie van die self (DeNora, 2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm. Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s. sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg as deel van jeug, jeugkultuur en kulturele identiteit. Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit, kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n informele leeromgewing uit te oefen. Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf. Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van populêre musiekanalise. Die implikasies van musikologie, “formele musiekopvoedkunde” versus populêre musiek en die effek van formele en informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig. Die navorsingsmetodologie toegepas in hierdie navorsing sluit in groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf volgens metodologie, resultate en die analise van die resultate. Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan musiekopvoedkunde kan bring.
Andersson, Ida. "Balance of music education : chartering verbal and non verbal knowledges in the philosophies of music teachers in South Africa." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1488.
Full textIrwin, Mark Stewart. "Teaching the way we learnt : a study in popular music education." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/59666/.
Full textKirsch, Simone Hillary. "Psychological aspects of one-on-one instrumental teaching at the tertiary level." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17372.
Full textENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these.
AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.
Msimango, Linda Nombuso Pearl. "An investigation into the relevance of formal training in music education to jazz teaching in South Africa." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7974.
Full textThe primary objective of the study was to investigate the necessity of equipping professional jazz teachers with general music educational principles. A sample was drawn from the students and lecturers at three selected tertiary institutions. The secondary objective was to determine who is deemed competent to teach jazz at tertiary institutions: professional players, professional players with a teacher-training qualification in jazz, or both. Three of the tertiary institutions in South Africa that offer jazz as part of their curricula were chosen: the University of Cape Town, the University of Natal, Durban, and the Technikon Natal. A questionnaire survey and interviews were utilised as the means of collecting information about issues concerning jazz education. A quantitative research design was used to analyse the results obtained from the questionnaires. The results were tabulated in basic descriptive statistical form and the interviews were qualitatively analysed. In addition, five hypotheses were formulated and tested using chi-square tests. A number of the interviewees supported the idea of equipping professional jazz teachers with general music educational principles; however, there were those who felt that their experience in the field was sufficient to enable them to be competent jazz teachers. The results from both the student questionnaire and lecturer interviews indicated that a combination of both professional players and professional players with a teacher- training qualification are needed. It was recommended that further research on jazz education should be undertaken to account for issues relating to teacher training in music education in South Africa. A curriculum that suits students and professional players who are interested in becoming competent jazz educators should be developed.
Harman-Bishop, Caroline Marguerite. "Aristotelian virtue and teaching and learning in music performance." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9009/.
Full textKatani, Archwells Moffat. "Traditional Malawian choral music : a liturgical-critical study within the Church of Central Africa Presbyterian (CCAP)-Nkhoma Synod." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019.1/1268.
Full textBrook, Julia. "An on-line digital video library of piano teaching: A case study with five teachers." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27572.
Full textColeman, Cynthia Renee. "A study of methods used by exemplary college voice teachers in teaching improved vocal resonance /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487673114113603.
Full textCannon, Rodney M. "Music student teaching in Texas a Delphi study of issues in the new millennium /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/cannon%5Frodney/index.htm.
Full textGallant, Mark W. "An Overview of Issues in Music Student Teaching, Related Research, and a Sample Study of the Effects of Classroom Characteristics on Evaluation of Student Teaching." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391588684.
Full textDaniels, Delia Josianne. "Keyboard tuition for adult beginners : investigating Practical Piano Study 171 at the University of Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49730.
Full textENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and the Introductory Programme in Music. The BMus Foundation Programme aims to reach students who intend doing the BMus Programme but do not meet the required standard for the BMus Programme at the time of enrolment. On the successful completion of the BMus Foundation Programme, these students can then be promoted to the BMus Programme. The Introductory Programme in Music concentrates on students who have had little or no prior formal theoretical or practical training in music. These students aim to obtain, an understanding of the fundamentals off'music within the minimum period of one academic year. The Introductory Programme in Music is dual-functional: Students can terminate their studies on completion of the course or 11 Students who wish to continue their studies in music can enrol for the BMus Foundation Programme on completion of the Introductory Programme in Music. The Introductory Programme in Music. consists of the following modules: Music Skills 171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical Music Studies: Preparatory 171 module concentrates on teaching students the basic practical skills required to play an instrument. The student decides which instrument he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical Piano Study 171 throughout the thesis. At the completion of the Introductory Programme in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano Study 171. In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically investigated. This investigation includes the following: the forms of tuition offered, that is, group and individual tuition, the curriculum material that is used and the curriculum itself Furthermore, the psychological, physiological and mental make-up of the student enrolling for this course in general will be discussed. In this instance, the umbrella term "adult" is used. Attention is also given to teaching aids that can assist in piano and electronic keyboard instruction. A demonstration video is included with the thesis in order to illustrate its potential as a teaching aid. Suggestions based on the conclusions drawn from this research are given for the improvement of Practical Piano Study 171.
AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999 twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend) asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar te bekom. Die Inleidende Program in Musiek het 'n tweeledige funksie: Die student kan die kursus teen die einde van die akademiese jaar voltooi of 11 Studente wat na voltooiing van die Inleidende Program in Musiek graag met hul studies in musiek wil voortgaan, kan vir die BMus Basisprogram inskryf Die Inleidende Program III Musiek bestaan uit die volgende modules: Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend 171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer. Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend 171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171. Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad 3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het. Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf, bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik. Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek gebaseer is, word ter afronding aan die hand gedoen.
Hudgens, Cecilia Kay Knox. "A Study of the Kodaly Approach to Music Teaching and an Investigation of Four Approaches to the Teaching of Selected Skills in First Grade Music Classes." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331823/.
Full textNomlomo, Vuyokazi Sylvia. "Science teaching and learning through the medium of English and isiXhosa: a comparative study in two primary schools in the Western Cape." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5834_1257246912.
Full textThis thesis compared science teaching and learning in English and isiXhosa in the Intermediate Phase (Grades 4-6) in two primary schools in the Western Cape. It explored the effects of using learners' home language (isiXhosa) and second language (English) as languages of learning and teaching science. The study is part of a broader project called the Language of Instruction in Tanzania and South Africa (LOITASA). The study was conceived against the background of English as a means of social, economic and educational advancement, and the marginalization of African languages in education.
Zhukov, Katie School of Music & Music Education UNSW. "Teaching styles and student behaviour in instrumental music lessons in Australian conservatoriums." Awarded by:University of New South Wales. School of Music and Music Education, 2004. http://handle.unsw.edu.au/1959.4/20698.
Full textMuthayan, Saloshini. "A case study of multigrade teaching in Canada: implications for South Africa." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1003319.
Full textCrawford, Michael. "Technology Standards for the Improvement of Teaching and Learning in Community College Music Programs." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3058/.
Full textTselentis, Colleen McDonald. "Effective teaching practices in a preschool music and movement program: An observational study." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/291902.
Full textHenn, Wilana. "Aanvangsonderrig in klavier : ‘n situasie-analise en riglyne vir ondergekwalifiseerde musiekonderwysers in die Suid-Afrikaanse konteks." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2997.
Full textThe piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.
Prior, Briony Ruth. "Intercultural music education in South Africa : introducing gumboot dance to the classroom." Thesis, 1996. http://hdl.handle.net/10413/8916.
Full textMailula, Kgaogelo A. "Challenges of mainstreaming indigenous African music at intermediate phase (Grades 4-6) in South African primary schools: A Case Study of three schools in Gauteng Province, South Africa." Diss., 2018. http://hdl.handle.net/11602/1139.
Full textCentre for African Studies
Since its inception, the study of music in South African schools has been fashioned on Western Classical models. The change in orientation from the Eurocentric to the Afrocentric approach required that indigenous African music be accorded space in the curriculum. This study explores challenges in mainstreaming indigenous African music in the curriculum of South African primary schools. It specifically focuses on the Intermediate Phase (grades 4-6). This study enlists a variety of appropriate qualitative methodologies, such as interviews carried out with a sample of educators and schools. It also analysed relevant DVDs of indigenous African music performances. It is envisaged that findings emanating from this study will be of value to music educators, music curriculum planners, education specialists, and other stakeholders. The dissemination methods will include publications of relevant teaching materials for classroom purposes, as well as generating research articles for scholarly discourse.
NRF
Nevhutanda, Ntshengedzeni Alfred. "A subject-didactical analysis of the music syllabus (1991) for teacher training colleges in Venda." Diss., 1995. http://hdl.handle.net/10500/15621.
Full textEducational Studies
M. Ed. (Didactics)
Robinson, David Wayne. "Lift ev'ry voice & sing for an Afrocentric pedagogy of music teaching and learning." Thesis, 2020. https://doi.org/10.7916/d8-k1wr-q169.
Full textHorn, Catharina Aletta. "Music as an intervention strategy to address reading difficulties of grade 2 learners." Thesis, 2009. http://hdl.handle.net/10500/4059.
Full textEducational Studies
D. Ed. (Inclusive Education)
Van, Der Walt Cornelia Susanna Nielu. "The relevance of the teaching methods of Dionisio Aguado, Fernando Sor and Andrés Segovia for guitar technique in the late 20th century." Diss., 1996. http://hdl.handle.net/10500/16283.
Full textM. Mus. (Musicology)
Ganyata, Obert. "Indigenous African music and multiculturalism in Zimbabwean primary schools : toward an experiential open class pedagogy." Thesis, 2020. http://hdl.handle.net/10500/27037.
Full textArt History, Visual Arts and Musicology
D. Phil. (Music)
Zervogiannis, Fanitsa Helen. "The "e" in rave : a profile of young ecstasy users and its implication for educators." 2000. http://hdl.handle.net/10500/17873.
Full textPsychology of Education
M.Ed.(Guidance and Counselling)
Chang, Sonia, and 張頌齡. "The Experimental Study of Constructivist Approach Music Teaching." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/88279789080038297233.
Full text國立臺灣師範大學
音樂研究所
90
The main purpose of this study were to explore the feasibility of employing theories of constructivism into the music teaching, and to development the constructivist approach music teaching. The study methods were employed including literature review and experiments, to find the teaching effect of the constructivism in music teaching. The experiment was constructed with quasi-experiment pretest-posttest design. The researcher designed the music achievement test, music learning experience questionnaire, learning journal and music learning reflection questionnaire to comprehende the feasibility of constructivist approach teaching in the school music curriculum. The analyses were conducted by ONEWAY ANOCVA and the quality study.Samples were selected from two 5th-grade classes at Mi-Dau Elementary School in Taipei, which one was experimental group and the other was control group. The experiment group received the constructivist approach music teaching and the control group received the traditional music teaching. The major findings of the research were as follows: 1. The influence of achievement in music learning: The scores in both experimental and control class showed significant differences. The results also showed the achievement of constructivist approach students were higher than that of traditional approach students. 2. The influence of intrinsic motivation in music learning: The scores in both experimental and control class showed significant differences. The results also showed the intrinsic motivation of constructivist approach students were higher than that of traditional approach students. 3. The influence of the classroom climate in music learning: The scores in both experimental and control class showed significant differences. The results also showed the classroom climate of constructivist approach students were higher than that of traditional approach students. 4. The influence of the expressiveness and the ability of communicate in music learning: There were no significant differences between experimental and control class. 5. The influence of the ability of understanding and the application in music learning: The scores in both experimental and control class showed significant differences. The results also showed the ability of understanding and the application of constructivist approach students were higher than that of traditional approach students. 6. The result from questionnaires scale showed that the most of the constructivist approach students(88.9%)accepted the constructivists teaching. 7. The results of the literature review and experiments have showed the application of the constructivism should be feasible. 8. The model of “constructivist aooroach music teaching” design as follows: 『The guide activities of theme』à『question and leading activities』à『problem solving activities』à『to publish and share』à『application and experimentation 』à『reverberate and internalization』 Based on the results, suggestions about the application of instruction and recom- mendations about further research in this field were offered.
Weng, Hui-jung, and 翁彗榕. "A Case Study of Teaching Beliefs in Teaching Music Creation of Junior High School Music teachers in Taiwan." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/38606941936796982252.
Full text國立臺南大學
音樂學系碩士班
100
The purpose of this study is to investigate the teaching beliefs in Music Creation for junior high school music teachers. We can understand the implicit teaching beliefs in music creation through the analysis of five different aspects, including teaching objectives, curriculum and teaching materials, teaching strategies, teaching assessments and the roles of teachers. A qualitative methodology is adopted in this study. The main subjects selected for this study are five junior high school music teachers who are currently involved in teaching music creation. By analyzing the data obtained from the in-depth interviews and related documents, the concluded findings of this study are summarized as follows: 1. The subject believes that the teaching of Music creation is essential in the cultivation of the Multi-dimensional capacity and the development of well-rounded personality. 2. The subject believes that the teaching of Music creation should be implemented while keeping the principles of "flexibility" and "suitability" intact. A progressive approach should be taken, with an aim to inspire and maintain motivation of students. 3. The subject believes that diverse teaching strategies based on the learning progress can help students accumulate both experience and interests in creating. 4. The subject believes that proper utilization of multiple assessments upon teaching of music creation can serve as not only an affirmation on students’ learning but also an aid on teachers’ self-evaluation. 5. The subject believes that teachers’ professionalism and enthusiasm play important roles in guiding the development of teaching music creation. Several suggestions are proposed, based on the final results of research, to teachers as references for the studying of teaching music creation, teaching beliefs established by teachers, and the decision-making and strategic planning among various education institutions.
Good-Perkins, Emily. "In Search of Culturally Sustaining Music Pedagogy: Adolescent Music Students’ Perceptions of Singing and Music Teaching." Thesis, 2018. https://doi.org/10.7916/D82F94ZR.
Full text江玟慧. "A Delphi study of innovative teaching in music education." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/92661604243845780432.
Full textWang, Pin-Fang, and 王品方. "A Case Study of Experienced Music Teachers’ Music Appreciation Teaching Practice in Elementary School." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/48092733960202663700.
Full text國立臺灣師範大學
音樂學系
104
The purpose of this study was to understand that two experienced music teachers’ viewpoints about music appreciation instruction and teaching practice in elementary school. A qualitative case study was utilized in this study. The research data were collected by interviewing and observing two senior music teachers in elementary school in Taipei. After analyzing the collected data, the major findings of this study were as follows: 1.Two experienced music teachers all agree that the range of music appreciation is broad. Besides cognition, but also includes skills in learning. Through active and inactive teaching activities, it can lead students to experience the beauty of music, and to cultivate their interests. 2.Different teachers in the teaching practice, have their own teaching characteristics. Two teachers were good at using "question", "discussion", " lecture" and "comparative appreciation" approach to lead students to listen. Besides above, teacher Sun also used another methods, such as "text", "theater", "videos" to assist students. Second example, teacher Fish used different methods, such as "text", "visual image", and "body movement" to help students more in-depth experience of music. Based on the findings above, the researcher would propose relevant suggestions for music teachers and provide these outcomes for future research studies.
Dane, Matthew Anderson. "Coordinated effort: A study of Karen Tuttle's influence on modern viola teaching." Thesis, 2002. http://hdl.handle.net/1911/18071.
Full textKresek, Katharine Charlotte. "Invisible Terrains: Experiences of Nomadic Music Teaching Artists." Thesis, 2018. https://doi.org/10.7916/D8K661KP.
Full textDuncan, Renee. "Are Schwab's Commonplaces Common In Music Teaching?" Thesis, 2021. https://doi.org/10.7916/d8-z06b-gh52.
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