Relevant bibliographies by topics / Music curriculum / Dissertations / Theses
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Dissertations / Theses on the topic 'Music curriculum'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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1

Byrn, James R. "An audiation centered music curriculum." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/683.

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2

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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3

Liddle, Kathryn. "Curriculum and Sample Lesson Plans." Miami University Honors Theses / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111150109.

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4

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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5

Mefford, Rebecca Dunn. "Integrating music into the second grade curriculum." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1065.

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6

Costley, Carol. "Women, music & culture : equality issues in music education at Key Stage Three." Thesis, University of Surrey, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260254.

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7

Dundas, Katherine Dawn. "The construction of school curriculum and music education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25836.pdf.

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8

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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Burke, Donita Baham. "A Music Curriculum for the Non-Music Major Teacher of the Intermediate Grades." UNF Digital Commons, 1985. http://digitalcommons.unf.edu/etd/71.

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This study was developed for the teacher who may have limited resources in music education. The purpose of this study was to design a curriculum in music education for the intermediate grades so that a non-music major teacher could easily instruct music lessons. The characteristics of musical growth have been outlined and research has been shown to support the musical characteristics. A set of objectives has been formed as the foundation for teaching music to children of the intermediate grades. The curriculum devised has three components for the teacher to follow: songs appropriate for each season, holiday or month, listening to American composers, and creating musical instruments. The activities listed have been selected for student appeal and enrichment suggestions are given to allow the teacher the opportunity to expand the, music lesson. It is with great hope that this study will give the teacher confidence to undertake a program of music that may have been otherwise nonexistent in the classroom.
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10

Ng, Yuen-fun Fanny. "The Hong Kong secondary school music curriculum : constructing marginality /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19884576.

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11

Keith, Karin, Chih-che Tai, Laura Robertson, and Renee Rice Moran. "Waves, Sounds, & Music." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/997.

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12

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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13

Wood, Colin. "Improvisation Methods: A Non-Idiomatic Improvisation Course for the Undergraduate Music Curriculum." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555578371828511.

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14

Ng, Yuen-fun Fanny, and 吳婉芬. "The Hong Kong secondary school music curriculum: constructing marginality." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31237587.

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15

Vaughan, Victoria. "Music analysis and performance interactions within the undergraduate curriculum." Thesis, University of Southampton, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298981.

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16

Cruz, Ian M. "Redefining the Performance Degree Curriculum for the Crossover Saxophonist." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/84.

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Many collegiate saxophone performance degree programs are overwhelmingly classical, adopting from other performance programs in the Western music tradition. However, there is a growing number of saxophone compositions that are “crossover” in nature. Crossover is a term used to describe the fusion of popular music styles in a classical setting. There is also evidence that collegiate music education as a whole is moving towards a more diverse curriculum, which emphasizes ethnomusicology. Due to this trend in composition and education, it is becoming increasingly important that saxophonists have the training of both classical and jazz disciplines. The problem is that while many colleges have saxophone majors, there is a strong divide between classical and jazz education. This leaves students in a Bachelor of Music in Saxophone Performance degree track without the ability to accurately perform crossover music or have the opportunity to perform jazz and other genres of music. The purpose of this study is to develop a crossover degree in saxophone performance by highlighting aspects of crossover saxophone repertoire and reviewing current university degree catalogs. The research in this study is meant to diagnose omissions in performance degree programs as far as crossover development and to create a new degree track for saxophonists in an effort to promote diverse performance ability.
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17

Dasher, Shannon Flatt. "It's time to face the music singing the praises of popular music in today's curriculum /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/shannon_f_dasher/Dasher_Shannon_F_200808_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by John A. Weaver. ETD. Includes bibliographical references (p. 161-167) and appendices.
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18

Crow, William George. "Remixing the music curriculum : the new technology, creativity and perceptions of musicality in music education." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10006504/.

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This thesis interrogates the new music technology and its relationship to creativity, musicality and learning in the Key Stage 31 curriculum. In doing so it considers the effectiveness of the technology, what value pupils and teachers might place on technologically mediated musical interactions and how this relates to the principles enshrined in the National Curriculum. The research also explores the views of teachers in relation to the nature of creativity and learning in the music curriculum and their role in promoting it. The research was carried out across five sites: a PGCE music course, a year 7, year 8, and year 9 Key Stage 3 music classroom, and a panel of secondary music teachers. It was located in a qualitative paradigm which made use of observational and interview techniques. The research also probed the pupils' creative outcomes through detailed analysis. The findings suggest that the new technology can afford creative musical engagement through the manipulation of ready-made musical materials. It also suggests that pupils engage in a range of musical learning through such interactions and that they value the processes and outcomes. By way of contrast, teachers are still unclear about how to value such musical actions and are in the process of re conceptualising the learning that emerges in technologically mediated settings. Moreover, confusions still exist in relation to creativity and learning in the music classroom. This is compounded by the fact that the pupils' musical actions in relation to the new technology do not meet certain core practices and principles enshrined in the National Curriculum for music. This is problematic for, as the research suggests, such core practices often exclude or distance those pupils who are non-performing musicians. Hence the thesis concludes by positing that music education must consider a broader view of what it is to be musical. In doing so it needs to remix the music curriculum to take account of a range of musical actions. This remix should accommodate the new technology, reconfigure musical creativity and learning in the light of the technology and find new ways to value pupils' actions. In such settings the role of the teacher in shaping and supporting the pupils' musical actions will be an important consideration.
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19

Lai, Lingchun. "Taiwan music teachers' attitudes toward the arts and humanities curriculum." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3951.

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20

Blyth, Andrew, and mikewood@deakin edu au. "Using the Victorian curriculum and standards framework in music education." Deakin University. School of Social and Cultural Studies in Education, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050815.114322.

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This research examines the usefulness of the Curriculum and Standards Framework as the basis for school music education in Victoria. The thesis consists of a folio of four short research tasks and a Dissertation that examine the question in different ways. The first of the short research tasks uses document and discourse analysis to examine and critique the philosophies of music education and aesthetic education that inform the Curriculum and Standards Framework. The same techniques are used in the second research task to trace the adoption and dissemination of the philosophy of music education as aesthetic education in a range of curriculum documents from around Australia. These two tasks show how centralised curriculum development often produces abstract and impractical goals and strategies. Research tasks three and four use interview and participant observation with teachers based in one Melbourne secondary school to illuminate the highly contextual nature of teaching practice. The theoretical formulations of learning presented in Victorian curriculum materials and policy documents is contrasted with the practical approaches that teachers take in developing educational programmes. These tasks show how school education is always developed in relation to students and resources and not according to abstract standards. The Dissertation reports on a major research project with thirty-two experienced music teachers working in the northern metropolitan region of Melbourne. Interviews with both primary and secondary teachers sought to determine the extent to which the Curriculum and Standards Framework had impacted upon their classroom teaching practice. The research was guided by Grounded Theory (Glaser and Strauss 1967) principles and it showed that the Framework and the associated process of centralising curriculum production failed to deliver any measurable gains or changes in music education in schools.
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21

Schulz, Steven John. "Using music to create effective curriculum for English language development." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2849.

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Research supporting the viability of music to promote language and literacy development as well as the theory of multiple intelligences suggests that any sound educational program employ a multifaceted approach to teaching and learning. This project created a thematically based multiple intelligence curriculum for first grade English language learners that emphasized the use of song.
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22

Lai, Lingchun. "Taiwan music teacher attitudes toward the arts and humanities curriculum." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3951/.

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The purpose of the study was to investigate teacher attitudes toward following the Taiwanese arts and humanities curriculum and the relationship of teacher attitudes to four selected curriculum integration factors. These include (1) The quantity of content areas taught in music class, (2) Teachers' satisfaction of their students' learning outcomes, (3) Teachers' confidence in planning lessons, and (4) The number of years spent in curriculum integration. Questionnaires were distributed to 85 stratified random selected junior high schools throughout Taiwan. The school responses rate was 74%. Content validity was checked. The internal consistency reliability ranged from 0.74 to 0.92. Recorder playing, group singing, and music appreciation were found to be the most frequently taught musical skills, the most satisfied students' learning outcomes, the most confident lesson planning areas, and the most important to be included in the music instruction. Writing-by-ear and playing-by-ear were found to be the least frequently taught musical skills, the least satisfied students' learning outcome, the least confident lesson planning area, and the least importance. The two most frequently encountered barriers were insufficient administrative leadership and shallow student learning. The results of the Pearson product-moment correlation coefficient showed a low positive significant relationship between teachers' overall attitudes and the quantity of musical content areas taught (n = 83, r = 0.29, p = 0.007*, r2 = 0.09). Based on prior research, if attitudes that are formed from personal histories are difficult to change, and in order to change attitudes, multiple strategies must be used. The majority of teachers did not strongly support or reject this new curriculum, and strong support would be needed for the curriculum to be successfully implemented. One of the most important things that the Taiwan MOE could do is to provide music teachers with on-going in-service teacher development programs and monitoring mentor systems, in addition to the exploration and development of additional strategies that might possibly impact teachers' neutral beliefs about this new curriculum.
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23

Entin, Phyllis. "Integrating a Kodaly Music Curriculum into a Developmental Early Childhood Program." VCU Scholars Compass, 1990. http://scholarscompass.vcu.edu/etd/4538.

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Nye (1975) states that the music teacher in a developmental early childhood program needs to have a "fundamental understanding of music in order to plan and organize music experiences based on reliable theories of how children think and learn" (p.41). The Kodaly approach is based on theories of child development and learning. Its specific sequential organization and developmental presentation of material separates it from other early 110 childhood music programs. The teacher trained in the Kodaly approach has a sound understanding of the musical elements presented in the song material. Both musical analysis and teaching techniques enable the teacher to present concepts and skills in ways that leave no detail to chance. Nye (1975) believes that children learn best in an atmosphere of inquiry where there is a balance between the “teacher structured" and the “child-structured" activities and situations (p.41). The focus of this thesis was to explore a balanced preschool music program that would provide young children with optimal learning experiences. The teacher is at the core of any good educational program. Kodaly (1974), in 1929, recognized the value of a musically well trained teacher when he wrote: The high level, intricate works of a Kindergarten teacher needs several years of study in many fields and a cultured taste. Wherever there is a person like this, she can work wonders with the little ones, even in music. A child will learn anything if there is somebody who knows how to teach him (p.149).
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24

Recob, Elizabeth R. "Ethnomusicology in the Classroom: A Study of the Music Education Curriculum and its Inclusion of World Music." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574507820991207.

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25

Van, Rensburg Adriana Janse. "Guided composition : an integrated, outcomes-based music curriculum for grade 8." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/51781.

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Thesis (MMus) -- University of Stellenbosch, 2000.
ENGLISH ABSTRACT: This study involves the research and documentation to develop an integrated, outcomesbased curriculum for music education in Grade 8 in South Africa by using guided composition as a teaching method. Directives from the new national curriculum, i.e. Curriculum 2005, the current Western Cape Education Department's syllabus for Music and the British National Music Curriculum are considered and applied. Composition is a medium that assists learners in exploring sound in an approach that emphasizes discovery through processes of creative thinking when organizing sound. Music as an art form cannot be mastered through discussion and performance alone. This study focuses on how composition helps learners to explore and discover through problem-solving activities when learning to think in sound and to manipulate the language of music. General perspectives on music education curricula are researched to determine an acceptable theoretical proficiency level for Grade 8. The praxial music educational approach of David Elliott is used as a philosophical foundation for developing the composition program curriculum. Actively making music, developing musicianship and developing creativity in music education form the backbone of this author's approach and hence an accountable basis for a curriculum. Fundamental issues in developing a curriculum are examined, the crux being how we learn. Cognitive apprenticeship and reflective thinking as praxial techniques focussing on integrated and holistic learning are proposed as a methodology for a music education curriculum, in this case composition. A curriculum for guided composition is designed and set out in four stages according to the four stages of curriculum development as proposed by David Elliott. Orientation, preparation and planning, teaching and learning and evaluation and assessment are addressed. This composition program attempts to situate and activate musical learning by proposing teaching and learning skills through which learners can activate and catalyze their creativity. When learning and experiencing music in a situated, authentic and practical way, as through composition, lifelong involvement, musical skills and continued enjoyment and accountability for the subject can be stimulated and established.
AFRIKAANSE OPSOMMING: Hierdie studie behels die navorsing en dokumentasie van die ontwikkeling van 'n geïntegreerde, uitkomsgebaseerde kurrikulum vir musiekopvoeding in Graad 8 in Suid- Afrika deur begeleide komposisie as 'n onderrigmetode te gebruik. Riglyne uit die nuwe nasionale kurrikulum, nl. Kurrikulum 2005, die huidige Wes-Kaap Onderwysdepartement se sillabus vir musiek en die Britse Nasionale Musiekkurrikulum word ondersoek en toegepas. Komposisie is 'n medium wat hom by uitstek daartoe verleen om op ontdekkende wyse, deur middel van kreatiewe prossesse, klank te eksploreer wanneer dit georganiseer word. Musiek as kunsvorm kan nie bemeester word deur blote besprekings oor musiek en voordrag alleen nie. Hierdie studie ondersoek hoe komposisie leerders kan help om te eksploreer en te ontdek deur middel van probleemoplossingsaktiwitieite wanneer hulle leer om in klank te dink en die taal van musiek te manipuleer. Breë perspektiewe op musiekopvoedkundige kurrikula word ondersoek om 'n aanvaarde vlak van teoretiese bevoegdheid vir leerders in Graad 8 te bepaal. Die praksiële musiekopvoedkundige benadering van David Elliott is die vertrekpunt om as filosofiese basis vir die ontwikkeling van hierdie komposisieprogram te dien. Aktiewe musisering. die ontwikkeling van musiseerderskap en die stimulering van kreatiwiteit in musiekopvoeding vorm die ruggraat van hierdie outeur se benadering en derhalwe 'n besinde basis vir 'n kurrikulum. Fundamentele aangeleenthede in die ontwikkeling van 'n kurrikulum word ondersoek, waar die kruks lê in hoe ons leer. Kognitiewe vakleerlingskap en reflektiewe denke is praksiële tegnieke wat fokus op geïntegreerde en holistiese leer en word voorgestel as 'n metodologie vir 'n musiekopvoedkundige kurrikulum, in hierdie geval komposisie. 'n Kurrikulum vir begeleide komposisie word ontwerp en word voorgestel in vier fases volgens die vier fases van kurrikulum-ontwikkeling van David Elliott nl. oriëntasie, voorbereiding en beplanning, onderrig en leer en evaluasie en assessering. Die komposisieprogram word geëvalueer en metodes van kurrikulum-evaluering word beskryf. Die komposisieprogram poog om musikale leer te situeer en te aktiveer deur onderrigen leervaardighede voor te stel waardeur leerders hul kreatiwiteit kan aktiveer en kataliseer. Wanneer musiek in 'n gesitueerde en outentiek praktiese wyse geleer en ervaar word, soos deur komposisie, kan lewenslange leer, musikale vaardighede, voortgehoue genot van musiek en regverdiging van die vak gestimuleer en gevestig word.
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26

Wachsman, Frances 1942. "Music, movement and drama in the center of the elementary curriculum." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277227.

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The purpose of this project is to develop a research-founded semiotically-based, holistic philosophy for utilizing quality, child-tested music, movement and drama resources in an integrated learning format and to provide workable activities within an accessible, understandable structure for use by the teacher in kindergarten through third grade classroom situations. Since children are "meaning makers," it is logical to create an approach for classroom teachers to use which builds on what children need most to help them make learning connections: an integrated format which helps children understand how learning fits together or makes sense. This project organizes music, movement and drama activities thematically in content areas which are ordered from simple to complex to accommodate the age range to which the project is directed.
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27

Nota, Charles. "Introducing marimba music as part of the school curriculum in Zimbabwe." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65458.

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This thesis is the documentation of an investigation to explore the applicability and use of indigenous African instruments in the development of primary school music curriculum for Zimbabwe. Although music is regarded as one of the compulsory subjects of the Zimbabwean primary school curriculum, it is noted with concern that western musical arts ideas are prominent in the school syllabus hence, they underline the whole essence of music teaching in the post-independence Zimbabwean education system. This is done at the expense of indigenous African musical arts practices that learners can easily identify with in their respective local communities. The purpose of my study therefore, is to determine critical elements of a curriculum development framework for facilitating the inclusion of indigenous African instrumental performance practices as substantive music resource stuff in the westernised Zimbabwean primary school music curriculum provisions. Zimbabwe has a variety of indigenous African instruments that include mbira, mazambi, magagada, chipendani and chigufe. For the purpose of carrying out this research, three indigenous African instruments are identified as instruments of focus. These are marimba (African xylophone), ngoma (African drum) and hosho (African percussion shakers). Thus, the term indigenous African instruments is consistently used collectively to mean the identified instruments. The study also samples songs from a selected Ndau cultural arts functions such as zvipunha and zvimworoni that could be utilised as education activities for classroom music teaching and learning initiatives in Zimbabwe. The idea of including culture-inclined resource materials for music teaching in the westernised post-independence Zimbabwean primary school music education initiatives implies curriculum change and innovation. Thus, curriculum change in Zimbabwe could be viewed as a reputable way to fulfil complete socio-cultural, educational and political sovereignty towards diluting the impact of colonial repression and neo-colonialism in Zimbabwe. It is notable, however that, colonial repression in Africa has caused and is still causing a permanent dislocation between indigenous black Africans and their cultural arts practices and heritages. My study doesn’t aim to achieve piece-meal changes in the primary school curriculum. Neither does it aim to suggest a complete overhaul of the current westernised primary school music curriculum. With this study, I aim to achieve a reasonable inclusivity and fusion of divergent cultural arts opinions towards musical hybridism in the Zimbabwean musical arts education milieu. This, I believe, shall help to establish an alliance of traditional African and western arts elements to attract both domestic and international appreciation of contemporary musical arts education initiatives in the post-independence Zimbabwean society. Relevant information has been gathered through documentary analysis, interviews, participant observation and focussed discussions. The findings reveal that the majority of primary school teachers and learners need considerable cultural arts rehabilitation because colonial repression had conditioned their perceptions to see no sensible value in indigenous African instrumental performance practices as part of the school education curriculum. The study also reveals that even the training of primary school music educators in Zimbabwe is grossly inadequate. Hence, the majority of these primary school teachers are pedagogically restricted to facilitate the teaching of skills-based subjects like music at any level of the Zimbabwean education system. Therefore, it is sensible to conclude that generalist primary school teachers are unreliable education practitioners who need further education and training in order to acquire relevant competences to teach music effectively in schools. Finally, lack of human and physical resources such as music instruments and textbooks has also been viewed as another impediment factor crippling teacher performance in the teaching of music in the majority of primary schools in Zimbabwe.
Thesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
Unrestricted
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28

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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29

Dwyer, Edward J., J. Temaj, C. Turner, Karin J. Keith, and E. E. Dwyer. "Integrating Reading and Music in the Elementary School Classroom." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3347.

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30

Lewis, Lucy Karelyn. "A model for developing a holistic collegiate curriculum for string performance and pedagogy." Thesis, The University of Iowa, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638399.

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This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not.

This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra).

The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.

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31

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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McCammon, William Lodge. "Chemistry to Music: Discovering How Music-Based Teaching Affects Academic Achievement and Student Motivation in an 8th Grade Science Class." NCSU, 2008. http://www.lib.ncsu.edu/theses/available/etd-06122008-160544/.

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Teachers should have access to new and innovative tools in order to engage and motivate their students in the classroom. This is especially important as many students view school as an antiquated and dull environment â which they must seemingly suffer through to advance. School need not be a dreaded environment. The use of music as a tool for learning can be employed by any teacher to create an engaging and exciting atmosphere where students actively participate and learn to value their classroom experience. Through this study, a product and process was developed that is now available for any 8th grade science teacher interested in using music to enhance their content. In this study 8th grade students (n=41) in a public school classroom actively interacted with modern songs created to enhance the teaching of chemistry. Data were collected and analyzed in order to determine the effects that the music treatment had on student achievement and motivation, compared to a control group (n=35). Current literature provides a foundation for the benefits for music listening and training, but academic research in the area of using music as a tool for teaching content was noticeably absent. This study identifies a new area of research called âMusic-based Teachingâ which results in increases in motivation for 8th grade students learning chemistry. The unintended results of the study are additionally significant as the teacher conducting the treatment experienced newfound enthusiasm, passion, and excitement for her profession.
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Tan, Penny Peng Leng. "Music education in the knowledge-based economy of Singapore : designing a music curriculum framework for neighbourhood secondary schools." University of Western Australia. Graduate School of Educationd%695 Electronic theses, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0240.

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Education in Singapore is seen as a key instrument to equip the next generation with resources to meet the needs of a Knowledge-Based Economy in a globalize world. The goal of this study is to develop a Music Education Curriculum Framework consistent with a Knowledge-Based Economy (KMCF) for Singapore neighborhood secondary schools. It provides the general context of music education in Singapore and conducts research to reveal the perspectives of key cross-sector stakeholders in music education, namely: The Ministry of Education (MOE) music and curriculum planning and development officers, National Institute of Education music academics, principals, general classroom music teachers and over 600 students. The curriculum framework will focus on the desirable qualities of Knowledge-Based Economy (KBE), particularly creativity, innovation, risk-taking, entrepreneurship and lifelong learning which have been strongly emphasized by the Singaporean government. In the light of their vision of thinking Schools, Learning Nation, the Ministry of Education is repositioning and reorienting the education system by implementing numerous initiatives and policies. The intention is to foster flexibility and diversity in a broad-based and holistic education, but the main focus to date has been on information technology, problem-solving and core subjects rather than on the creative aspects of the arts. By surveying students, this research aims to find out to what extent students find their music lessons satisfactory and whether their perspectives is compatible with those of other stakeholders. Students generally do not take music seriously, and the public perception is that a music career is limited to performing and teaching. The model curriculum framework will indicate further related careers, and the personal growth that comes through a genuine engagement with music. The Ministry of Education controls the school curriculum, structure of education, examinations, teacher qualifications and conditions of service. In 2005 it initiated a Teach Less, Learn More initiative which promoted student engagement. However, despite the rhetoric of classroom-based, teacher-owned and school-driven learning, it did not consult teachers or students and therefore failed as a vital learning organization which involved all participants in deciding future directions. For Senge (1994, p.13), a learning organization is a place where people are continually discovering how they create their reality. The curriculum design is an example of an example of an open system which this thesis addresses the issue of providing a structured programme flexible enough to adapt to contextual needs while providing the standards and outcomes needed in a competitive knowledge-based economy. This thesis makes its original contribution to knowledge by applying an open system model from organisational theory to a conventional music curriculum.
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Ruviella-Knorr, Jeanne Louise. "The Musical Curriculum (1864) and the New Musical Curriculum (1872) George Frederick Root's integrated pedagogical approach to music education /." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1424.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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35

Van, Dyk Stephne. "Interdisciplinary and intradisciplinary music education for the foundation phase of Curriculum 2005." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51802.

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Thesis (M.Mus) -- University of Stellenbosch, 2000.
Some digitised pages may appear illegible due to the condition of the original hard copy. (entire content of poor quality)
ENGLISH ABSTRACT: The foundation for this study is the belief that music is an essential part of human existence and thus of education. It not only addresses individual and communal human needs but the multicultural nature thereof gives it special significance for education in the ''New South-Africa". This significance lies in the value of music in its own right (intra disciplinary) as well as the use of music for its intrinsic qualities to facilitate the teaching of all other fields of knowledge (interdisciplinary). Recent research and new thinking in the fields of intelligence and learning support this belief. The old one-dimensional approach to intelligence is no longer tenable and has been supplanted by the acknowledgement that human intelligence is multi-faceted. Musical ability is now recognized as a separate intelligence while the use of music is regarded as being an important factor in the development and functioning of the human thought process. Research on the role played by emotions and morality as well as that on the characteristics of genius, optimal experiences and the implications of the functioning of the brain, are all explored with reference to what this means for music education (and using music in education) in this country today. The new Curriculum 2005 at present being introduced into South-Africa is an example of Outcomes-based Education. The way in which the Arts and Culture Learning Area of Curriculum 2005 approaches music education corresponds with the interdisciplinary and intra disciplinary distinction. These aspects are discussed and material is included for use in order to realise the expressed and desired outcomes for music education in the Foundation Phase. Elliott's alternative approach (music-as-practicum), instead of Reimer's traditional music curriculum making, is used as point of departure.
AFRIKAANSE OPSOMMING: Die oortuiging dat musiek 'n essensiële deel van die menslike bestaan en dus van opvoeding is, lê ten grondslag van hierdie studie. Nie alleen spreek dit individuele sowel as gemeenskaplike menslike behoeftes aan nie, maar die multikulturele aard daarvan maak dit van groot belang vir opvoeding in die "Nuwe Suid-Afrika". Die belang is daarin geleë dat opvoeding in musiek op sigself waarde het (intradissiplinêr), maar ook leer in alle ander vakgebiede kan fasiliteer (interdissiplinêr). Onlangse navorsing ten opsigte van intelligensie en opvoeding staaf hierdie siening. Die vroeëre een-dimensionele siening van menslike intelligensie is nie meer houdbaar nie en is vervang deur die erkenning dat intelligensie vele fasette het. Musikale vermoëns word tans as 'n outonome intelligensie beskou, terwyl die groot invloed van musiek op die ontwikkeling en funksionering van die menslike denkpatrone erken word. Navorsing oor die rol van die emosies, moraliteit, die kenmerke van die genie, optimale ondervindinge en die funksionering van die brein, word ondersoek met verwysing veral na die belang daarvan vir musiekopvoeding (en die gebruik van musiek in opvoeding) tans in Suid-Afrika. Die nuwe Kurrikulum 2005 wat tans in Suid-Afrika ingevoer word, is 'n voorbeeld van Uitkomsgebaseerde Onderwys. Die benadering van die Kuns en Kultuur Leerarea in die Kurrikulum 2005 tot musiekopvoeding stem ooreen met die inter- en intradissiplinêre verdeling. Hierdie aspekte word bespreek en materiaal word ingesluit vir gebruik by die nastreef van die uitdruklike en wenslike uitkomstes vir musiekopvoeding in die Grondslagfase. Elliott se alternatiewe benadering tot kurrikulering vir musiek (musiek-as-practicum), in teenstelling met Reimer se tradisionele MEAE model, word as uitgangspunt gebruik.
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Ferris, Alison Jill 1949. "Classroom music in Victorian state primary schools 1934 to 1981 : curriculum support." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8472.

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Green, Anna Theresa. "The gendering of secondary music education : curriculum, pedagogy and the classroom experience." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/10021824/.

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This thesis explores the extent to which curriculum content and pedagogy in current secondary music education can be understood as gendered. The study is situated primarily within a qualitative paradigm whilst also possessing some quantitative aspects. It consists of a mixed-methods investigation into the practices and beliefs of music teachers and their pupils via a) a survey across 78 co-educational, non-selective and non-denominational English secondary schools; and b) detailed case-studies of three purposively selected music departments of contrasting complexions. The research springs from, replicates and extends that conducted for L. Green’s early study (1993) concerning gender and music and its findings are examined in the light of a range of historical and theoretical concepts that underpin this domain including Green (1997), O’Neill (1997), Paechter, (2000, 2009), Harrison (2009), Legg (2010), Abramo (2011), Armstrong (2011) and Bjork (2011). Throughout the thesis I compare and contrast three data sets (L. Green’s survey, the modern-day survey and the present case studies) in order to explore similarities and differences between the thoughts and behaviours of both past and current respondents. In addition I aim to extend existing theoretical paradigms by identifying how particular aspects of curriculum and pedagogy can be defined as feminine-gendered’ or ‘masculine-gendered’, (regardless of the sex of the teacher) through the development of a framework of descriptive criteria. In particular I review data emanating from the case studies in the light of this, examining how gendered practices and approaches affect pupils’ responses. Despite evidence of change concerning gendered participation in school music nowadays (such as boys’ improved involvement in 14+ examinations) I show how wide-ranging, complex and deeply-embedded historical constructs continue to govern the dynamics of the music classroom. These reveal themselves, both overtly and covertly, via the expression of a broad range of beliefs and behaviours which usefully elucidate and illuminate the concepts expressed throughout this study.
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Dwyer, Edward J., P. H. Scott, and E. M. Dwyer. "Fostering Appreciation of Diversity and Enhancing Learning by Integrating Reading and Music." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/3338.

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39

Lim, Eun-Jung. "Significant Influences in the Lives of Senior Citizens: Reflections on Music Experiences during School Years and Beyond." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1328371467.

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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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Fleming-DeBerger, Rachelle. "Guidelines and Criteria to Assess Singing and Music Training in Baccalaureate Music Theater Programs." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/688.

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Within the last twenty years there have been a growing number of prospective students interested in pursuing musical theater (MT) training in colleges and universities throughout the United States. To meet this demand, the number of schools offering baccalaureate MT degrees has also grown. However, information on how to assess the music and singing training of undergraduate MT programs is not easily accessible to prospective undergraduate students. This is likely due to the fact that colleges and universities have only begun offering degrees in MT since 1970. Research-based information in this area is primarily found in peer-reviewed journals or by attending workshops presented by a few pedagogues specializing in MT vocal methods and techniques. The purpose of this essay is to develop criteria for assessing the singing and music training in MT baccalaureate degree programs that would be useful for prospective MT students, based on the current literature.
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Rodriguez, Delilah. "Music Integration Therapy| An Instructional Tool for Students with Special Needs." Thesis, Capella University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10640904.

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Students with special needs are required by law to have an individualized education plan based on their unique educational needs. Special education teachers understand these needs and provide students with instructional strategies that allow them to succeed. Music has often been used to provide students with disabilities alternative ways to learn new content; however, the use of music integration therapy in the special education setting as well as its impact on the engagement behaviors on students with special needs is not widely documented in current educational research. A collective case study was used to explore how special education teachers use music integration therapy as an instructional tool for students with special needs. Four special education teachers in a large school district in a western state who have used music therapy in their interactions with students with special needs participated in the study. Each had different motivations for their use of music therapy in the classroom. The data gathered from interviews and observations revealed that each educator viewed progress for students on an individualized basis. The implications of the results of the study and their relationship to the literature are discussed. In addition, recommendations for future research are presented.

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43

McVeigh, Matt. "Standards-based performance assessment in the comprehensive music classroom." Thesis, The University of Wisconsin - Milwaukee, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1546867.

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The purpose of this study was to examine the effectiveness of standards-based assessment practices within a music performance curriculum. This pre-survey, post-survey experimental treatment included 169 students, 97 parents, and 3 teachers from 3 school districts across Wisconsin. The results from this study indicated that music teachers rely on a variety of assessment strategies to monitor student achievement regardless of if they are using standards-based assessment practices; however, teachers who used standards-based assessment were more likely to use formal assessments to determine student achievement and were more likely to assess students both formally and informally on a regular basis. Furthermore, when standards-based practices were implemented students' awareness of the learning target increased. Students also became less reliant on teacher feedback in determining their success but valued the feedback that was received at a higher level. Finally, parents relied on both online gradebooks, and conversations with their child regarding student achievement.

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44

Sweeney, S. E. "Music in the National Curriculum : implications of assessment for pupils, teachers and schools." Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262667.

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45

Winter, Neal. "The effects of a specially-devised, integrated curriculum, based on the music of Sting, on the learning of popular music /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041117.155611/index.html.

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Mieder, Kimberly N. "The Effects of a Self-Regulated Learning Music Practice Strategy Curriculum on Music Performance, Self-Regulation, Self-Efficacy, and Cognition." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7339.

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The purpose of this study was to evaluate the effects of a Self-Regulated Learning Music Practice Strategies Curriculum (SRL-MPSC) on Self-Efficacy in music practice, Self-Regulation in music practice, Music Performance Achievement, Processing Speed, and Meta-Cognitive Awareness for high school instrumentalists. The goal of the fifteen-day music training using the SRL-MPSC, was to teach adolescents how to practice more effectively, think meta-cognitively and develop musical independence while enhancing self-efficacy, performance achievement, processing speed and meta-cognitive awareness. Results of this study suggest that a 15-day music training intervention using the Self-Regulated Learning Music Practice Strategies Curriculum, significantly enhanced participant’s Music Performance Achievement, F, (1,33) = 11.28, p =.002, d = 1.98, self-perceptions of Self-Regulation in music practice, F (1,33) = 16.91, p = .001, d = 1.98. and Self-Efficacy in Music Practice F (1,33) = 13.81, p =.001, d = 2.10. Based upon the results of this study, teaching students to practice effectively using strategies, cooperative group activities along side daily rhythmic audiation, sight reading and scale study, will develop independent musicianship, increase confidence and musical competence, broaden the literature level and increase student motivation to practice.
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Kauffman, Joseph William. "WEATHERING THE PERFECT STORM: PREPARING THE NEXT GENERATION FOR A CAREER IN MUSIC PERFORMANCE." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/524784.

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Music Performance
D.M.A.
A brief study of the history of classical music and the subsequent performance of it reveal magnificent innovative achievements in the inspired evolution of composers and the performing artists that have presented it. Throughout the centuries these performers have stimulated generations of audiences while taking them on musical journeys that cover the complete spectrum of human emotion. Today the classical music world faces weighty challenges that that could very well crush the future of this valuable art form and lead the industry into a desolate demise. A thick cloud of smoke has descended upon these once proud and distinguished music institutions in the United States. Orchestras, opera companies, and other traditional performing institutions are facing financial tribulations, and many of these organizations have already shut their doors. Interest in classical music has plummeted and audiences have continued to disintegrate along with it. In the meantime, music colleges and conservatories have ignored the plight of the professional organizations in turmoil by continuing to train performers in the United States the same way that they have always done since the National Association of Music Schools developed their accreditation standards in 1924. This has led to a generation of music performance majors being trained for jobs that are no longer viable. What’s worse, once these students are finished studying, their music colleges and conservatories disregard them, and institutions move forward with training the next generation of students who will undoubtedly face a similar fate. Along with the turmoil surrounding traditional performing institutions and a music performance curriculum built for a different time, another problem exists that will ultimately push these two concerns to the forefront in the coming years. Higher education in the United States is beginning to experience a colossally devastating financial crisis as a result of decades of unlimited federal student loan aid, decreased state funding, overspending by institutions, and technological alternatives to traditional education that have triggered steady increases in tuition rates for students. These increases have culminated in a substantial amount of graduates taking on debt, on which significant percentages of those graduates are now defaulting. Subsequently, enrollment in higher education has been dropping every year since 2011, and a growing number of prospective students are losing faith in the system and are looking towards alternative avenues to receive their educations. A “perfect storm” has developed in our midst. Several problematic elements of the storm have been simmering for quite a while, but have never been properly confronted or treated. Now a fresh set of storm indicators are emerging that will further emphasize the severity of the problems that have been there for years. Addressing challenges in institutions that have done things the same way for many decades can admittedly be arduous. But regardless of how long these problems have been ignored, they generally don’t go away by themselves, and they often become so insurmountable that only undesirable solutions are feasible. The perfect storm threatening the classical music world is not going away, but, fortunately, reforms are possible that can assist music colleges and conservatories in weathering it and help to reverse the negative forecast. The purpose of this monograph will be to detail the different elements that make up this “perfect storm,” and explain why reforming the music performance curriculum so that it becomes relevant to the current realities of being a 21st-century performing artist is essential. In order to be able to proceed with these reforms, a fundamental reorganization of foundational aspects in music higher education needs to occur. This project is not something that I wanted to take on, but I felt that it was my duty to do everything possible to reinvigorate and transform the training of performing musicians so that the next generation will be able to succeed in saving our art from its downward trajectory and move it onto a path of sustainability and relevance. I am writing this for my colleagues who are navigating the professional music world, for current music students, for future prospective students preparing to enter the music industry, for current and future music professors, for deans in music schools, and for the accreditors who build the music performance curriculum.
Temple University--Theses
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48

Gluska, Virginia. "Fiddling with a Culturally Responsive Curriculum." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19894.

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The discourse on education for Aboriginal people has long been limited to a curriculum of cultural assimilation often resulting in an erosion of self-esteem and disengagement. Consequently, this research puts forth narratives of how fiddle programs in northern Manitoba work as a culturally responsive curriculum that in turn address such curricular erosions. As a research methodology, Metissage afforded me pedagogical opportunities to weave the various perspectives of community members, parents, instructors, and former students into an intricate story that attempts to represent some of their social, cultural and historical experiences within the north. Braiding stories of the historical and present impacts of fiddle playing reveals the generative possibilities of school fiddle programs in Canadian Indigenous communities. In addition to building intergenerational bridges, the stories put forth in this thesis demonstrate how the fiddle has become a contemporary instrument of social change for many communities across northern Manitoba.
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Veit, Andrew Gregory. "Developing a curriculum for the study of jazz vibraphone available through the online community, the vibesworkshop.com." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3208.

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The vibraphone has been associated with improvisation since the beginning of the twentieth century. There have been many documents designed to guide students in both technical studies on the vibraphone and improvisational skills. This document includes three instructional courses dedicated to the teaching of those skills. It uses only materials found on the website vibesworkshop.com, which is curated by Philadelphia-based vibist Tony Miceli. These courses are designed for undergraduate college students through advanced amateurs or professionals. Many college curricula include insufficient vibraphone studies or do not include them at all. Currently, most college percussion studio professors specialize in areas other than vibraphone. Because of their lack of experience, professors supplement their teaching methods with materials that approach vibraphone in a subpar manner. Such materials instruct students to internalize and regurgitate bland materials instead of creating and developing their own ideas. The vibesworkshop.com courses aim to assist those professors and students by replacing older instructional materials with a system that cultivates students' affinity with the vibraphone, allowing them to continue contributing to the online vibes community after participation in these courses.
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McConnachie, Boudina. "Indigenous and traditional musics in the school classroom : a re-evaluation of the South African Indigenous African Music (IAM) curriculum." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/6806.

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Musical ideals set by European standards and values, entrenched through colonial oppression and promoted by the continued veneration of Western culture need to be re-evaluated. Despite the intention of the ANC government, through the Department of Basic Education's Curriculum and Assessment Policy Statement music curricula, to integrate Indigenous Knowledge and musics into the South African classroom, evidence shows that opportunities to do so are not seized. With reference to the proclaimed values of an African sensibility in the model of the South African music education curriculum, the history of its development and the current pedagogical movement towards transformation in the production of knowledge and the inclusion of Indigenous Knowledge (IK), this thesis questions why teachers in government schools in South Africa are not executing the Indigenous African Music (IAM) syllabus in the CAPS FET music curriculum. Taking the history of music education and the development of curriculum models and frameworks into account, it interrogates what strategies could improve the application of the current music curriculum in government schools in South Africa. These questions are addressed in the thesis by way of a discussion of the music curriculum and what its praxis in the classroom reveals about its efficacy, through observations and personal experiences, the observations of teachers and student teachers, a comparison with the experience in Zimbabwe, and an analysis of the music curriculum as it is currently devised and implemented. Straddling three methodological approaches, namely the ethnographic, the autoethnographic and the action research approach this study finds that the CAPS FET music curriculum does provide realistic opportunities to engage with African Indigenous and traditional music. This, however, is dependent upon the training of the teacher, facilities available in the classroom and the prior knowledge of the learner. A fundamental flaw of this curriculum is the approach to practical assessment of Indigenous and traditional African musics and the lack of assessment criteria and practical guidelines. In addition, the findings suggest that the fault regarding implementation of the curriculum lies in the training of students (who become teachers) at tertiary level, where an integrated approach to skills development regarding Indigenous African music is suggested.
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