Dissertations / Theses on the topic 'Music Instruction and study Victoria'
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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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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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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.
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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.
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Garth, Alan, and edu au jillj@deakin edu au mikewood@deakin edu au kimg@deakin. "A Study of an Australian Rural Music Festival." Deakin University. School of Australian and International Studies, 2000. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20040617.152028.
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A social and cultural study of the development of the Port Fairy Folk Festival within the context of the current revival of folk music in Australia. The folk music movement is a social and cultural phenomenon, as well as a musical event.
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Jones, Jason David. "Elementary music teacher perception and instruction of subdivision| A mixed methods study." Thesis, The University of Texas at San Antonio, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10151305.
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The purpose of this mixed methods study was to explore elementary music teacher perspectives of subdivision and its instructional value in the general music classroom. This study aims to answer the questions: (a) How does the perceived definition of subdivision influence instruction? (b) How do elementary music teachers relate subdivision to other concepts? (e) How does training and professional development influence teacher perception? Elementary general music teachers (N=26) from an inner-city Title 1 school district in Central Texas participated in a descriptive survey. Results indicated that while participants explained that important relationship between subdivision and other concepts and marked it as extremely significant (88%), they ranked it seventh out of eight and allotted less than five minutes for instruction during lessons. In addition, the greatest influence on teacher perception of subdivision was the amount of training in Dalcroze Eurhythmics, Kodály and Orff Schulwerk, While Kodály teachers primarily related subdivision to rhythm, and thought that it was too complicated for young students, Orff and Dalcroze teachers were more likely to teach it in every concept. This study along with previously conducted studies suggest that elementary music teachers believe that subdivision aids in student learning. However, elementary music teachers appear to be hesitant to utilize subdivision during instruction.
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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.
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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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Kertz, Marjorie I. "A gift of music." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/766.
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McMillan, James F. "The curricular dysfunction between the administration of instrumental music and suitability of teaching materials in English secondary schools /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65402.
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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.
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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.
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Montocchio, 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.
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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.
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Newton, Mark Brian. "A remote interactive music keyboard tuition system." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1004860.
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A networked multimedia system to assist teaching music keyboard skills to a class is described. Teaching practical music lessons requires a large amount of interaction between the teacher and student and is thus teacher intensive. Although there is a range of computer software available for learning how to play the keyboard, these programs cannot replace the guidance of a music teacher. The possibility of combining the music applications with video conferencing technology for use in a keyboard class is discussed. An ideal system is described that incorporates the benefits of video conferencing and music applications for use in a classroom. A design of the ideal system is described and implemented. Certain design and implementation decisions are explained and the performance of the implementation examined. The system would enable a music teacher to effectively teach a music class keyboard skills.
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Mondia, Nunzio. "The effect of a pop/rock music repertoire on the music achievement and preferences of lower secondary school students." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1102.
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This research tested the effect of using a pop/rock repertoire to teach selected music skills to lower secondary school students in a conventional school setting. Two year 9 co-educational music classes from the same school were used for the experiment. The research was conducted in an experimentally controlled environment in which one class was the experimental group, and the other class was the control group. Measurements in changes of student achievements and musical preferences were the focus at the data collecting stages. Reported research indicates that students need to be motivated for learning to occur. One approach to motivation is the incorporation of pop/rock music in programmes. However, popular music is only slowly finding its way into many school programmes because many teachers lack vital resources such as skills, appropriate repertoire material and guidance. As a consequence, many of those teachers have questioned and continue to question the value of popular music in music education. The results of this experiment were statistically analysed and interpreted to determine whether the selected pop/rock repertoire significantly increased the achievement levels of those students. The analyses indicated that students using pop/rock repertoire for learning musical concepts, significantly increased their achievement levels from the pre-test to posttest stage but that both classical and pop/rock repertoires were equally effective in increasing the achievement rate of students. All students had a higher preference for pop/rock music and a significantly lower preference for classical music.
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Glover, Richard. "Music of sustained tones." Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/9612/.
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This thesis accompanies the portfolio of compositions written between 2006 and 2010 and discusses both the overall theoretical concepts, and the specific musical tools, that lie behind their construction. Chapter 1 presents theories of perceptual grouping mechanisms and temporality in reductive music, and applies these to the transformational surface layer from the sustained tones in my music. The use of repetition and gradual process in my music is explored, leading to the application of a decentralised approach towards my structural models. The notion of a 'closure spectrum' contextualises my own music with others, and facilitates a discussion of the teleological nature of my music. Chapter 2 describes the tools which are used in the application of these concepts; in particular, the use of harmony, glissando, duration, use of instruments and notation are reviewed. The individual portfolio pieces are discussed in chapter 3, detailing the various employments of the these tools in different instrumental contexts. This chapter also demonstrates the overall refinement in my compositional approach which took place throughout the doctoral course: my gradual shift towards simpler processes, indeterminacy in notation, and extended note-duration. Less successful aspects of these pieces are also considered in the context of this evolution, along with those aspects which were retained and employed in future pieces. The conclusion evaluates the overall progression, and discusses areas for future development which have arisen from my own research through composition.
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Szabo, Moira. "An assessment of music teacher effectiveness : a comparison between generalists and specialists." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61772.
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Kirsch, 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.
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Thesis (M.Mus.)-- University of Stellenbosch, 2006.ENGLISH 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.
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Lukianenko, Sofia. "A critical reflection on teaching and learning music in the context of technological change /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21235.
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This essay explores the benefits and limits of teaching and learning music in a changing technological environment, where both students and instructors are faced with the perpetual problem of keeping up with new methods of practicing music for the purpose of maintaining competence. The essay critically reflects on the argument that present societies overvalue technical instruments, at times giving consumers a false hope of achieving quick results in a brief period of time, and with the unintended consequence that playing techniques can be compromised. The idealizing of mechanical devices has become strongly associated today with sophisticated taste and class. Following Mumford and Postman, the essay argues that these technological tools should be seen as posing a challenge to instructional values and to human agency. This essay concludes that while we cannot help the fact that tradition is constantly being renewed, in part through technological change, the role of teaching that learning music needs to be focused on are historic values which incorporate experience and reciprocity.
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Cornacchio, Rachel Ann. "Effect of cooperative learning on music composition, interactions, and acceptance in elementary school music classrooms." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8156.
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Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 60-67). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
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May, Bruce D. "Music helps me live inside my head : a longitudinal ethnographic case study of a group of senior high school music students." Thesis, Queensland University of Technology, 2003.
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Within the established tradition of qualitative research techniques, this ethnographic case study reveals the musical lives of two single sex groups of Senior High School music students in Queensland. The research was carried out during 1998 and 1999 at two Brisbane Independent Non-Government Schools, one a Boys School and the other a Girls School. It was centred on a mixed core group of Year 11 students [21 students] who had elected to study the subject "Senior Music". The research continued for the two years of their senior course. Students were
interviewed in groups initially and then individually over this period with an increasing focus being made on the issues as they evolved. This research provides an evolving view of aspects of the understandings that these students had about music in their lives. Knowledge about young people and their involvement with music as a human experience, including the more formal processes of music in education, has been generated. This knowledge is fundamental because it emerged from the key stakeholders - the students. It was important that these student ideas
be documented, to portray the positive and negative roles that music can play in the lives of a particular group of students; in this case, a basically musically committed group who, for the most part, already have a passion
for music in their lives. The data generated from this ethnographic case study has the capacity to challenge existing teaching practice and approaches to learning in the secondary school music curriculum, in particular, the course at the senior level of years 11 and 12 that these
students were studying over the two years of this research project. The study presents the voices of the students by recording their responses to a variety of musical discussions.
The themes of this research intersected as the research evolved. The principal "players" consisted of; (i) the voice of the student, (ii) the formal course of study, (iv) the literature, and (iv) the voice of the experienced
practitioner in the form of myself as the researcher. This was the context that guided the results of the study.
The study focussed on the students' views and responses to the world of music with the themes emerging as it progressed over the two years. One theme concerned their listening habits in music, whether it was in the context of their formal studies of music or simply the casual listening
experiences in their lives in general. Another theme involved their musical performing experiences either through the formally organised setting of concert performances, as part of their class music course, or as a part of their informal experiences of making music. The students also reflected on their music rehearsals in ensembles such as orchestras, bands and vocal groups as well as on their music practice sessions at home.
Another emerging theme was composition as part of the students' musical experiences. This area did not attract the same level of attention as listening and performing but nonetheless had a significant impact on the students as young musicians. All these areas had connections in some
way with their formal study of music through the school class music course.
Other themes emerged that were interwoven with the above major themes. These included:
(i) the place of music in their lives in general;
(ii) the place of music and its relationship to their other academic studies;
(iii) the influence of the culture of the school and of society in general;
(iv) the personal musical interests of the students;
(v) extensions to their musical world through associations with other people who may be part of this world;
(vi) other areas of the students' lives that impinge on their musical experiences, and;
(vii) differences between the formal requirements of music syllabi and the needs and interests of the learner.
The findings of the study provide a valuable insight into the understandings that a group of adolescents have concerning the place of music in their lives. It reveals the extent to which many of these understandings reinforce and support the success of the formal aspects of their musical education, whilst at the same time revealing tensions between their personal connections with music and music as a formal course of study at school. The study also allowed the opportunity to record and "celebrate" the place of music in the lives of a group of adolescents by documenting the positive aspects of having music in their
lives and in their education. Parents, teachers and syllabus writers need to be reminded of the positive aspects of music in the lives of adolescents. This case study reveals the actual "voice" of the committed music student and suggests that in designing courses of study, music educators should take into account the interests and passions of their students.
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Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.
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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task.Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.
Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.
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Irwin, 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/.
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Popular music education in the UK, and worldwide, has seen a significant expansion in the last two decades. As this new subject matures, scholars are beginning to fashion a new and more student-centred approach to learning and teaching: drawing on the informal learning practice found in popular music. Green (2006) defined the key characteristics of informal learning: allowing learners to choose the music; learning by listening and copying recordings; learning in friendship groups, with minimum adult guidance; learning in personal, often-haphazard ways; and integrating listening, playing, singing, improvising and composing. Informal musical learning is also facilitated through the use of recording as a technique for reflecting on, and improving one's own performance. These novel approaches to music education have begun to be applied by music educators, in a diverse range of contexts. Karlsen (2010) has correspondingly linked informal learning with ideas of authenticity, and communities of practice: social networks that provide individuals with access to learning through interaction with experienced ‘old-timers' as described by Lave and Wenger (1991). This thesis examines the way that seven musicians, teaching in one private UK Higher Education popular music institution, learnt their craft: firstly as musicians and subsequently as teachers. It asks how the way that these individuals acquired their skills and beliefs might impact on the way that they teach their students, and if this impact might be more effective if teachers were encouraged to reflect on their own learning, using that reflection to research, inform, and modify their own teaching practice. This work is particularly situated in small and medium size group teaching rather than the one to one teaching model found in classical music programmes, or in peripatetic music teaching. Furthermore, my work takes a structural-constructivist approach using the ideas of Bourdieu (1977, 1990a, 1993) as a theoretical lens, and drawing on the constructivist learning theory developed from the principles established by Vygotsky in the 1920's and 1930's (1930/1978).1 I argue that a hybrid approach to Bourdieu's notion of habitus (1990a, p.53) or the dispositions we adopt to the social world is crucial to understanding the way that we become musicians. Moreover, that the situatedness of musical and educational practice and the identity practices of learners and teachers are fundamental to the process of learning as a process of becoming (Lave and Wenger, 1991). Ergo, by recognising this process of learning as situated in social, cultural, historical, and technological contexts we may also facilitate metacognition (Flavell, 1979). By metacognition, I mean the ability to be reflexive2 as a learner or teacher; understanding the way that learning works, our beliefs about learning, and how those beliefs affect one's own learning and thus agency. Additionally, that notions of authenticity and creativity are vital to the effectiveness of musical learning practices, and the accumulation of social and cultural capital for popular musicians. My research methods include the use of open ‘semi structured' interviews (Leech, 2002) alongside observation in the classroom3 to generate empirical data. The primary research presented here is an Action Research Study: enabling the teachers in the study to retrieve their own experience of informal learning in order to facilitate informal learning practice in the music classroom. I suggest that these individuals recognise the importance of their own experience and are able to utilise, and learn from those experiences in developing approaches that are relevant, creative, and also authentic to their students. What this work also aims to do is establish links between theory and practice, and to identify potential mechanisms for engaging with our students' entire learning experience, whilst allowing them to understand the social and cultural process of musical learning. 1 This text is a collection of Vygotsky's work originally published in the 1920's and 1930's. 2 Reflexivity is a word used in sociology to describe how much agents are able to recognise the forces of social structure and therefore affect agency. 3 By classroom teaching, I mean small group (10-20 students) and exceptionally, larger group (40-60) teaching, as is the model for delivery at my institution.
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Range, Matthias. "Music at British coronations from James I to Queen Victoria, 1603-1838 : a study and edition." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496628.
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Grigg, Jodie. "A mixed methods study of drug use at outdoor music festivals in Western Australia and Victoria." Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/79426.
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This study investigated the nature and extent of drug use associated with Australian music festivals, assessed current and potential future policy and practice strategies aimed at reducing the risk of drug-related harm at festivals, and developed evidence-based recommendations aimed at improving current strategies. Key recommendations included: expanding drug-checking services; ceasing the use of drug detection dogs; removing barriers to seeking medical attention; shifting to a harm reduction policy; and creating more enabling environments for harm reduction.
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Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.
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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
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Mufute, Josphat. "The training of the non-specialist music teacher in Zimbabwe : a case study." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/565.
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The focus of this study thus was to establish if the training of teachers at a particular teachers’ training college in Zimbabwe is equipping students as future teachers with the required competences to realise the aims and objectives of the Zimbabwe Primary Music Syllabus. This study follows on the above-mentioned initial small-scale investigation conducted in 2002, which revealed that teachers lacked the required competences to implement this particular syllabus effectively (Mufute, 2002:16).
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Royo, Johanna Lucia. "Self-Efficacy in Music Education Vocal Instruction: A Collective Case Study of Four Undergraduate Vocal Music Education Majors." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/320010.
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While much research exists on self-efficacy in music programs, few research studies have qualitatively examined the impact of vocal performance settings on music education majors' self-efficacies and career goals. This collective case study examines the self-efficacy perceptions of four undergraduate vocal music education students in five vocal performance and rehearsal settings: (a) voice lessons, (b) studio classes, (c) choral rehearsals, (d) choral performances, and (e) juries. During a spring semester at a major university in the southwestern United States, I examined how participants' perceptions of their family backgrounds, career goals, lifestyles, peers, and student-teacher relationships influenced their vocal self-efficacy perceptions and music career goals. Data collection included observations, individual interviews with participants, and one focus group interview. Coding methods were used to analyze the interview transcripts and observation field notes. Triangulation, peer review, and member checks of transcriptions were used to ensure accuracy. Findings are documented case-by-case and as cross-case themes. I found that mastery experiences and family support during adolescence influenced participants' initial decisions to major in music but had little influence on vocal self-efficacy during the study. Secondly, self-efficacy changes noted throughout the study influenced participants' career goals. Other emergent themes included the role of memory, teacher feedback, concept comprehension and socialization. I conclude with cross-case themes and offer ideas for future self-efficacy research.
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Birkby, Peter R. "A twenty-first century light music composer : sailing on : composing light music in the twenty-first century." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31097/.
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Sailing on is an investigation into how light music has evolved from its origins into a style of music for the twenty-first century. I am a light music composer and a contemporary use of the style is explored in a portfolio of compositions, all in score form, substantiated by an autoethnographical commentary. Light as a term to describe music was first used in the nineteenth-century to label music that was created for the entertainment of the masses and it was sometimes used to explain the more accessible works of ‘serious’ composers. The music enjoyed a golden age of approximately one hundred years between 1870 and 1970 and this study contextualises light music in respect of the functions that it fulfils and the relationships it has undergone with serious and popular music during the period and to the present day. Entertainment and accessibility to mass markets are terms used more in relation to commercial music rather than art music and the thesis includes an exploration into the role of light music as part of the industrialised music businesses as well as being at the forefront of technological developments. The relationship between art and money has been difficult for some to reconcile and part of the reason for the criticism and neglect of light music by many in the music establishment and these aspects are considered as part of the contextualisation. I have identified a number of common musical and expressive elements in light music and an analysis of techniques is presented as a means to describe the characteristics of the style. The works surveyed have been selected from a period that embraces the golden age to the present with examples from records, radio, television, film, games and web based media. All these influences plus my own experiences in music have been considered during the composition of the portfolio of music that proffers my interpretation of light music for the twenty-first century.
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Pascoe, Beverley. "The influence of primary school music programmes on student choice of music studies in lower secondary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.
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The omnipresence of music in today's adolescent society in Australia is evidenced by the fact that adolescents, almost without exception, listen to and enjoy music throughout most of their leisure time, and indeed, much of their study time. A large portion of their financial resources is spent on music and its associated promotional material. It could be said that music plays a major part in their sub-culture and their lives. According to Davey (1991, p.ll), "Music is an addiction in our culture" and "the Walkman and ghetto blaster assure access wherever and whenever we choose." The obvious fulfilment and satisfaction enjoyed by our adolescents through music is not, however, reflected in the comparatively small number of students who choose or qualify to undertake music studies at high school. A study by the U.S. Department of Education (1988) cited by Patchen (1993, p.19) indicates that, while from Kindergarten to sixth grade 80% of students participate in music, in 7th and 8th grades this falls to 48% and by grades eleven and twelve only 9% of students participate in music classes.
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Ladd, Michael J. "An interactive CD-ROM for the instruction of 'classic' sound synthesis methodologies." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1210534.
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The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive timbral differences produced by these methods. This environment allows students to interact at their own speed and assist in customizing their learning development.
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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.
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In view of the lack of an appropriate instrument to measure primary school music teachers' concerns about teaching music to students with special educational needs in inclusive classrooms in Hong Kong, this research intends to fill the research gap by developing and validating the Music Teachers' Concerns of Inclusive Music Teaching Scale (CIMTS) for addressing these concerns. Specifically, this study aims at: (1) Developing and validating the CIMTS, (2) Assessing its psychometric properties, (3) Exploring primary school music teachers' levels of concern about inclusive music teaching, and (4) Predicting their CIMTS scores with a number of psychological, personality, and environmental variables which are hypothesized to correlate with the CIMTS. Different methods with two samples of primary school music teachers were involved in the development, validation, and prediction of the CIMTS. Regarding development, sequential mixed method involving qualitative analysis was employed to generate, pilot-test, and refine the initial pool of question items. Concerning validation (N = 309), quantitative analysis using item analysis was conducted to evaluate and refine the CIMTS, assessing its internal consistency and construct validity. Specifically, Exploratory Factor Analysis, Confirmatory Factor Analysis, SEM estimation, and Multi-trait and Multi-method analysis were performed to establish evidence of convergent and discriminant validity. Referring to prediction (N = 224), hierarchical multiple regression analysis was conducted to examine if the chosen psychological, personality, and environmental variables in the hypothesized model were significant predictors of the scores on the CIMTS. Results indicated that the 25-item CIMTS possessed adequate evidence of validity as well as satisfactory reliability regarding the overall scale and its five factors (Learning Support, Learning Obstacle, Resource, Training, as well as Curricular Design and Assessment). While the level of primary school music teachers' concerns for the Resource factor was found to be the highest among the five factors, Openness-to-Experience and School Climate were shown to be the strongest predictors of their scores on the CIMTS in the hypothesized model. With the development and validation of the CIMTS, this research not only filled the research gap in inclusive music education, but also aroused policy-makers' and music educators' awareness of teachers' needs for formal training in special education and for resource allocated to inclusive music teaching. For future research, with addition of new items, the CIMTS could be expanded in its domain coverage, refined, and revalidated with different samples. Further exploration of possible correlates of the CIMTS should be pursued.
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Allen, Thomas Orrin. "Components of instruction in general music and piano in selected educational settings in Buenos Aires, Argentina." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833669.
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Pianists from Buenos Aires, both artists and students, have seemed to this writer to possess common qualities of spirit, fluency and command. The research project was organized to investigate facets of Argentine culture and the training of pianists in Buenos Aires which may have contributed to this perception. Observations of musical education in Buenos Aires were conducted in August and September of 1986. Learning situations observed included piano lessons in private studios, public and private conservatories and preparatory schools. Also observed were aural perception training and general music education in private elementary schools, public high schools, pre-professional schools, public and private conservatories and preparatory programs. The social, political, cultural and economic conditions that existed were also studied in order to better understand the climate in which musical training occurred.Those factors in the culture and training of pianists in Buenos Aires that would seem to have a discernible effect on students within that system include: 1) The Argentines' sense of cultural identity is consciously enhanced by deliberate inclusion of Argentine culture in the Music Education curriculum and the conservatory syllabus. 2) Important to the sense of command and success is the will to succeed in the struggle against the economic and political hardships of life in Argentina. 3) Music education is highly structured and weighted toward aural perception training. Aural skills were taught thoroughly and with great consistency of method in every class visited. 4) The piano teaching was carried out with expert technical guidance, beautifully played demonstrations and much singing of phrase and tone. 5) The central government established for the conservatories a ten-year Programa de Piano, which insures consistent standards of achievement in technique and literature throughout the country. 6) The Argentine government offers totally free public education. Any students able to pass the entrance examination at the conservatory can avail themselves of the country's best education in music.School of Music
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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.
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Erwin, Joanne (Joanne Hall). "Stability of Secondary String Teachers' Rehearsal Behavior." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332546/.
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The purpose was to establish the stability of behavior of secondary string teachers. The research problems were (a) to establish the frequency of selected observable elements of content and instructional strategies; (b) to estimate the stability of observed teaching behaviors within and across rehearsals; and (c) to determine the stability of pacing within and across rehearsals. In conclusion, for the population observed, stability of behavior existed. The variable of multiple conduction, not given much attention in research or pedagogical literature, weighted heavily in frequency of occurrence. Demonstration and verbal imagery, encouraged by strong experts, received less than 3% of rehearsal time. Pacing should be considered an important variable in the instructional process and merits further definition and research.
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Wang, Miao, and 王苗. "Professional autonomy of music teachers in China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45595847.
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Hendrikse, Salóme. "'n Interdissiplinêre benadering tot die klasmusiekonderwys in Suid-Afrika." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002305.
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In hierdie tesis word 'n nuwe benadering tot klasmusiekonderwys in die R.S.A. bespreek. Die navorsing vervat in die tesis is vanaf 1984 tot 1992 gedoen. In 'n sekere sin verklaar die aanvangsdatum van die navorsing die feit dat die projek veral gerig is op die blanke onderwyssituasie aangesien die verskillende groepe se onderwysbelange volgens amptelike beleid grotendeels deur verskillende onderwysowerhede behartig is. Die blanke onderwysgerigtheid van die navorsingsontwerp ten spyt, is die uitgangspunte en die bevindings van die studie, veral ten opsigte van die rol en funksie van musiekopvoeding, sonder twyfel van toepassing op al die Suid-Afrikaanse gemeenskappe. In die opsig behoort die bevindings van die studie dus tot 'n groot mate ook die eise van musiekopvoeding veral vir 'n toekomsgerigte onderwys te kan ondervang juis omdat die vertrekpunt van die voorgestelde vemuwings en aanpassings in die musiekopvoeding die waardes en norme van gemeenskappe moet identiflseer en vertolk en terselfdertyd die beperkende effek daarvan moet teenwerk deur kulturele transenderings. Veral laasgenoemde is van groot belang in die multikulturele opset van die Suid-Afrikaanse gemeenskap waarin die musiekopvoeding juis 'n belangrike rol kan speel in die ontwikkeling van 'n onderlinge begrip en waardering tussen die verskillende kultuurgemeenskappe. In Afdeling A van die tesis word die huidige stand van klasmusiek bespreek en daar word op gewys dat, afgesien van 'n aantal sekondere faktore, die prirnere redes vir die nie-geslaagdheid van die vak, faktore soos die sillabusse, die opleiding van die onderwyser en die posisie van die vak in die kurrikulum is. Teenoor die huidige benadering van klasmusiek met al sy probleme word 'n ander benadering tot die onderwys in die a!gemeen en die klasmusiek in die besonder gestel, naamlik die interdissiplinere benadering met sy twee afdelings, naamlik die geesteswetenskappe en die kunstebenadering. Hierdie benaderings word bespreek soos wat dit in die V.SA. en Europa toegepas word, en daarna word 'n aangepaste benadering vir die R.S.A. ontwikkel ten opsigte van doelstellings,uitgangspunte, riglyne, metodiek en tegniek. In Afdeling B volg die empiriese navorsing wat ten opsigte van die interdissiplinere benadering in die R.S.A. gedoen is, en drie lesreekse, soos beplan vir Standerd 6 en 7; Standerd 8 en vir Standerd 9 en 10 word bespreek. As deel van elke lesreeks word die wordingstand van elke ouderdomsgroep bespreek en in gedagte gehou by die saamstel van hierdie lesreekse. Elke lesreeks bestaan uit 3-4 volledig uitgewerkte lesse wat insluit: hulpmiddels (kunsvoorbeelde, musiekvoorbeelde, gedigvoorbeelde ensomeer), beknopte aantekeninge vir die onderwyser, 'n bronnelys en 'n klankkasset met die nodige klankillustrasies soos waarna in die lesse verwys word. In Afdeling C word die resultate van 'n steekproef bespreek wat gedoen is in verskeie skole in die vier provinsies van die R.S.A. Met hierdie steekproef is beoog om die reaksies van leerlinge en onderwysers te toets ten opsigte van hierdie nuwe voorgestelde, en aangepaste interdissiplinêre benadering. Die lesreekse wat deel vorm van Afdeling B is as basis deur die onderwysers gebruik, maar hul was vry om eie idees te ontwikkel en te gebruik. Die reaksies van die leerlinge en die onderwysers word in die vorm van tabelle en besprekiogs aangedui, en aanbevelings van die leerlinge en die onderwysers word aangetoon. Die tesis word afgesluit met addendums tot die verskillende hoofstukke asook volledige bibliografiese besonderhede.
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Richmond, Floyd. "Tools, guidelines, and strategies for the development of computer-assisted-instruction lessons by non-programming music teachers." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902513.
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The purpose of this study was to enable music teachers with limited technological background to develop computer-assisted instruction lessons. Toward this end, (1) "Lesson Writer," a HyperCard-based authoring system for the Apple Macintosh computer, was developed and (2) guidelines and recommendations for the production of effective CAI lessons in music were written. The specific organization of the dissertation is as follows. Chapter One presents an introduction and establishes the need for greater participation by music educators in the creation of CAI lessons in music. It calls for the creation of an authoring program for music teachers. Chapter Two reviews literature related to the study. Chapters Three and Four discuss the characteristics of the student and computer and the impact of these characteristics on CAI development. These chapters include guidelines for the creation of effective CAI music lessons. Chapter Five provides a tutorial on how to use the "Lesson Writer" software to produce a simple lesson on musical texture. The basic concepts of creating screens, adding text, sound, graphics, and interaction are demonstrated. Chapter Six gives an overview of "Lesson Writer." Chapters Seven, Eight, and Nine explain presentation screens (explanation), interactive screens (interrogative), and control screens (organizational) respectively. Chapters Ten, Eleven and Twelve introduce techniques for adding sounds, graphics and multimedia events (CD ROM and video disc) to CAI lessons. Chapter Thirteen shows random and branching operations in the "Lesson Writer." Chapter Fourteen includes a summary, suggestions for future study, and conclusions. In the appendices are (1) a list of lessons created using "LessonWriter," (2) a HyperCard and XCMD bibliography, (3) instructions for installing "Lesson Writer", (4) instructions for writing HyperTalk extensions to the "Lesson Writer," and (5) an annotated bibliography of dissertations written between 1982 and 1993 on the topics of computers and music. This bibliography was compiled by paraphrasing and condensing the abstracts provided by a computer search of Dissertation Abstracts International on the keywords, "computers" and "music."School of Music
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Walsh, Brenda 1956. "The effects of an alternative instrumental music program on elementary school children." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35225.
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Music education is an important element in the development of the whole child. The school is a place where children learn about and are directly influenced by things that make a lasting impression on their development. What better place for music to be taught? Music is a course of study that can have a direct influence on a child's lifetime tastes and values for the arts.This study investigates the effects of an Alternative Instrumental Music Program on grade three children, at an elementary school situated on the West Island of Montreal, Quebec. One of the two classes involved in the Study (Experimental Group) participated in an alternative instrumental music program and its applications; the other class (Control Group) followed a traditional music program. Each class consisted of twenty-eight students. Quantitative and qualitative data were collected from both groups of students, homeroom teachers, and parents over a period of ten consecutive weeks.
The findings revealed that the children in the Experimental Group enjoyed learning music in school more than those in the Control Group. The Experimental Group also indicated a greater increase in the enjoyment of activities experienced during music class than those in the Control Group. Moreover, there was a higher increase of musical knowledge in the Experimental Group.
The author suggests that further research on the effects of alternative music programs on elementary school children would be beneficial to the educational community.
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Henn, 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.
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Thesis (MMus (Music))--University of Stellenbosch, 2006.The 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.
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Prescesky, Ruth. "A study of preservice music education students : their struggle to establish a professional identity." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42120.
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The purpose of this research was to gain an understanding of how music education students come to think of themselves as music educators. Guided by the thematic framework, "learning from experience", which draws upon research relating to constructivist theory and biographical inquiry, as well as literature pertaining to construction of images of self, this study explored four music education students' perceptions of themselves as musicians and as educators. Believing that self-perceptions are rooted in personal biographies, autobiographical and journal writings were investigated to establish links between participants' perceptions and biographies. Issues encountered by participants as they began to think of themselves as music educators were uncovered.Participants' perceptions of their "selves" were rooted in childhood memories and models of practice. They interpreted, internalized and practised the tacit expectations of their models of practice. Subsequently, participants' images of self-as-musicians and self-as-educators were connected by a common thread, that of image of self. Participants who viewed self-as-performer encountered conflict between their identities as musician and as educator. Other participants constructed images of self-as-participants. As such, they experienced a sense of unity and resonance between their identities as musicians and as educators.
Issues directly related to their self-perceptions surfaced as participants began to think of themselves as music educators. The study considered the implication of these issues for teaching practice, and the relationship between these issues and preservice teacher training. This study concludes with a discussion of research implications and directions for reforming music teacher education.
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Freed, Carlin Joi Lynn. "Can you think a little louder?, a classroom-based ethnography of eight and nine year olds composing with music and language." Thesis, National Library of Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq27143.pdf.
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Schutte, Charla Helena. "n Kritiese evaluering van die sertifikaatprogram in musiek by die Universiteit Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52957.
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Some digitised pages may appear illegible due to the condition of the original hard copy. (entire content of poor quality)Thesis (MMus)--Stellenbosch University, 2014.
AFRIKAANSE OPSOMMING: In Suid-Afrika, soos in alle ander lande, is daar musiekliefhebbers en kunstenaars met beperkte of geen musiekopleiding nie. Sommige van hulle het dikwels net In basiese musiekkennis en het heel waarskynlik nooit die geleentheid gehad om hulle kennis met eksterne insette te verbreed nie. Dit is juis teen hierdie agtergrond dat daar al vir 'n geruime tyd 'n behoefte bestaan om die nodige opleiding en onderrig aan persone te bied wat weens omstandighede buite hulle beheer (histories of andersins) nie formele musiekonderrig van watter aard ookal, kon ontvang nie. By die Konservatorium (Universiteit Stellenbosch) word daar twee oorbruggingskursusse, oftewel 'n Sertifikaatprogram, aangebied. Die teikengroep bestaan hoofsaaklik uit (i) mense wat na hulle gemeenskappe kan terugkeer om hulle nuutgevonde kennis toe te pas en/of (ii) voornemende musici wat graag vir die BMus-program wil inskryf nadat hulle die minimum tydperk van die Sertifikaatprogram suksesvol voltooi het. Die doel met hierdie studie was om te bepaal of die tweede Sertifikaat van die Sertifikaatprogram se huidige (i) kurrikulum en (ii) standaard 'n student in staat stelom aan die toelatingsvereistes van die BMus-program te voldoen en die kursus suksesvol te voltooi. Om die doel te verwesenlik, is kwalitatiewe navorsingsmetodes (byvoorbeeld literatuurstudie en waarneming) gebruik om die spesifieke inhoud wat in die Sertifikaatprogram benodig word, te ondersoek. Daar is gevind dat aspekte van die Elliott-model toegepas kan word op sertifikaatinhoude. Die navorser kon as waarnemer en dosent deur middel van klasbywoning en -aanbieding eerstehands bepaal of die kurrikulum wat op skrif gestel is, in die praktyk uitvoerbaar was. Empiriese inligting oor die betrokke kursus is deur middel van die opname prosedure en die gestruktureerde vraelys tegniek bekom. In Evalueringsvraelys oor kursusmodules wat oor 'n tydperk van twee jaar aangebied is, is ingevul deur sertifikaatstudente. Onderhoude is met BMus I dosente gevoer om te bepaal watter minimum standaard na hulle mening aanvaarbaar is wanneer 'n student vir die BMus-program inskryf. Deur middel van literatuurstudie is daar ook na eksterne faktore gekyk wat In invloed op die vordering van studente in die Sertifikaatprogram kon hê. Die hantering van aspekte soos motivering, onderrigtegniek en -benaderings wat suksesvolle volwasse onderrig sal verseker, eienskappe van volwasse leerders en die implikasies daarvan vir volwasse onderrig is binne die konteks van die Universiteit Stellenbosch se Sertifikaatprogram bespreek. Deel van die oogmerke van hierdie navorsing was ook om die moontlikheid van aanlegtoetse te ondersoek, omdat tans geen aanlegtoets afgelê word by die Departement Musiek nie. Verskeie bestaande aanlegtoetse is vir die doel bestudeer en die Advanced Measures of Music Audiation van E. Gordon is deur die navorser as die mees geskikte vir die doel van hierdie studie beskou. In die geheel het hierdie studie getoon dat die Sertifikaatprogram by die Departement Musiek, Universiteit Stellenbosch, baie potensiaal het, maar dat daar egter deeglik ondersoek ingestel moet word na die kurrikuluminhoude om sodoende die huidige standaard op
ENGLISH ABSTRACT: In South Africa, similar to all other countries, there are music lovers and artists with limited or no training in music. Some of them often only have a basic knowledge of music and probably never had the opportunity to broaden their knowledge with external inputs. It is against this background that the need exists to provide the necessary training and tuition for these persons who, due to circumstances beyond their control (historical or other), could not receive any formal music tuition whatsoever. The Department of Music (Stellenbosch University) offers two bridging courses, namely the Certificate programme. The target group consists mainly of (i) people who can return to their communities to apply their newly acquired knowledge and/or (ii) prospective musicians who would like to enrol for the BMus programme, after successfully completing the minimum period. The purpose of this study was to determine whether the second Certificate of the Certificate programme's current (i) curriculum, and (ii) standard, will make it possible for a student to meet the requirements for enrolment in the BMus programme and to complete the course successfully. To realise the objective, qualitative research methods (for example literature study and observation) have been employed to investigate the specific contents required in the Certificate programme. The researcher could, as observer and lecturer, by means of attending lectures and lecturing, determine first hand whether the curriculum which had been compiled, was viable in practice. The researcher obtained empirical data regarding the course in question by means of the survey procedure and structured questionnaire method. A questionnaire comprising the evaluation of course modules presented over a period of two years, was completed by certificate students. Questionnaires have been completed by BMus I lecturers to determine amongst other things, in their opinion, whether the minimum standard would be acceptable when a student enrols for the BMus programme. By means of literature studies, external factors which could influence the progress of students in the Certificate programme, have also been examined. The handling of aspects such as motivation, tuition techniques and approach, which wil ensure successful adult tuition, characteristics of adult learners and the implications thereof for adult tuition, have been discussed within the context of Stellenbosch University's Certificate programme. Part of the objectives of this research was to investigate the applicability of aptitude tests, because no aptitude test is required at the Department of Music at present. Various existing aptitude tests have been examined and the author has deemed the Advanced Measures of Music Audiation by E. Gordon as most suitable for this purpose. In its entirety this study has shown that the Certificate Programme of the Department of Music, Stellenbosch University has much potential, but, that thorough investigation should be initiated into curriculum contents to elevate the existing standard, in order that the link of the second Certificate with the BMus programme can be trouble-free.
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Wilson, Aaron James. "Bridging the virtual gap in Internet based music instruction| A feasibility study in trombone performance education." Thesis, The University of North Carolina at Greensboro, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3568938.
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Since being introduced into classrooms in the late 1990s, online instruction has grown substantially both in student enrollment and the number of programs offered at state, district, and multi-district levels. Although having been applied liberally to all core subjects and many supplemental subjects, online instruction has yet to be utilized extensively in the musical arts. Courses in music performance present a unique set of technological and logistical challenges when adapted to an online setting. Nevertheless, private music teachers have utilized Internet resources extensively. Similar techniques applied to public school music programs, however, have yet to be explored thoroughly. Utilizing a combination of asynchronous instruction and synchronous instruction for teaching online music performance courses offers a potential for study and development.
The purpose of this study was to establish the feasibility of an online music performance course that included both asynchronous and synchronous instruction. An approach that utilized both a multimedia blog format and real-time video instruction was developed, implemented, and delivered to a limited group of trombone students as a pilot study. Nine students participated in online trombone lessons that focused primarily upon the development of performance fundamentals. The delivery of content was assessed to determine a feasible format for music performance instruction in an online setting. Although typical technological shortcomings were experienced during instructional settings, students were able to identify, explain, and apply concepts gleaned from the blog and real-time video lessons.
Internet-based resources have been applied to independent and collegiate music performance instruction; pedagogical approaches, however, have not been developed for use in secondary level online learning programs. Consequently, online music performance instruction has not evolved as rapidly as online instruction of core academic subjects. As technological advances become available, the possibility for delivering online instruction in areas of the performing arts, and especially in music performance, becomes more feasible and likely will be integrated into the curricula of many online learning programs. Until such time, the implementation of viable online instructional models is essential for the development of traditional music performance courses.
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De, Villiers Corinne. "Evaluering van die effektiwiteit van 'n rekenaargesteunde gehooropleidingsprogram by studente in die musiekoorbruggingsprogram van die Universiteit Stellenbosch." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/16603.
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Thesis (M.Sc.)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: Current technological development has a strong impact on education. Students normally have free access to computers and the internet. Computer-based instruction is more frequently available in classrooms and reinforces the traditional educational systems. The purpose of this study was to determine whether a computer-based program, Auralia 2.1, can be used effectively in the Music Certificate Course of the University Stellenbosch. Due to limited time during lessons as well as time-constraints for individual practising by the students, the researcher investigated the efficacy of Auralia 2.1 for use in the classroom. Students are able to practise individually during lessons as well as on their own. The problem to find a peer to practise aural training is therefore avoided as the computer fulfills this function. The researcher administered Auralia 2.1 on a group of eight Certificate students from the University Stellenbosch. The evaluation period consisted of two semesters of fourteen weeks each. The researcher used the traditional method of aural training in the first semester and she used Auralia 2.1-sessions in the second semester. The researcher compared the two semesters to each other to ensure the integrity of the results of the research. The researcher systematically held record of observations as well as the progress of the students. Questionnaires were completed and interviews were held as part of the evaluation process. Suggestions are made in this thesis on how Auralia 2.1 can be used effectively for educational aims.
AFRIKAANSE OPSOMMING: Die hedendaagse ontwikkeling in tegnologie het ‘n sterk invloed op opvoeding. Studente het oor die algemeen vrye toegang tot rekenaars en die internet. Rekenaargesteunde onderrig kom toenemend in klaskamers voor en word ter versterking van die tradisionele onderwysstelsel gebruik. Die doelstelling van hierdie navorsing was om te bepaal of ‘n rekenaargesteunde onderrigprogram, naamlik Auralia 2.1, effektief benut kan word in die musiekoorbruggingsprogram (Sertifikaatkursus) van die Universiteit Stellenbosch. Weens beperkte klastyd en ‘n gebrek by Sertifikaatstudente aan noodsaaklike tyd vir gehooropleidingsoefeninge, het die navorser ondersoek ingestel na die effektiwiteit van Auralia 2.1, vir gebruik in die klas. Die studente kon met behulp van die rekenaar individueel tydens asook buite klastyd oefen. Probleme om ‘n “oefenmaat” vir gehoor te vind is dus uitgeskakel aangesien die rekenaar daardie funksie vervul het. Die navorser het die program Auralia 2.1 op ‘n groep van agt Sertifikaatstudente van die Universiteit Stellenbosch toegepas. Die evaluering het oor twee semesters van veertien weke elk gestrek. Die navorser het in die eerste semester ‘n tradisionele metode van gehooropleiding gevolg en in die tweede semester het sy gebruik gemaak van Auralia 2.1-sessies. Die navorser het die twee semesters met mekaar vergelyk om sodoende die integriteit van die navorsingsresultate te verseker. Daar is tydens die navorser se studie sistematies verslag van die waarnemings en die studente se vordering gehou. Vraelyste is voltooi en onderhoude gevoer as deel van die evalueringsproses. In hierdie tesis word daar ook voorstelle gemaak oor hoe Auralia 2.1 effektief gebruik kan word vir opvoedkundige doeleindes.
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Anderson, Elizabeth L. "Materials, meaning and metaphor : unveiling spatio-temporal pertinences in acousmatic music." Thesis, City University London, 2011. http://openaccess.city.ac.uk/3530/.
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This dissertation addresses two topics. The first is a preliminary investigation into the listening strategies for electroacoustic music by François Delalande. A listening experiment was undertaken to test Delalande’s strategies and to learn from listeners’ responses in order to apply them to compositional practice. This process prompted the conception of a new, integrated reception behaviour framework for electroacoustic music that comprises four listening strategies: sonic properties, structural attributes, self-orientation, and imaginary realms. The second topic is the poietico-esthesic analysis of the folio of acousmatic compositions from the perspective of the reception behaviours framework. The intention of the reception behaviours framework is to illuminate those sounds and structures in electroacoustic music that could be perceived as carriers of meaning. The analysis of the acousmatic compositions in the portfolio, from the perspective of the reception behaviours framework, aims to illustrate how the acousmatic composer can attempt to create meaning in an acousmatic work. While space is observed as the common denominator in the reception behaviours framework from an esthesic perspective, space and time are proposed as common denominators that carry all poietic intention. Hence, space and time can be seen as universal carriers through which meaning can subsequently be conveyed and perceived.
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Lorenzino, Lisa M. "Educational reform and the process of change in Canadian university music education programs." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30185.
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This study examined the perceptions of music education students, professors, administrators and music teachers in the field with respect to the call for reform in Canadian music teacher training programs. The role that these various groups envision themselves having in this process was also investigated. Fifty-five subjects from the provinces of Quebec and Alberta responded to items on a written questionnaire. From within this subject pool, 19 subjects participated in a series of two interviews in order to gain further insight on various questionnaire items. Results demonstrated a moderate degree of similarity in responses from the stakeholder groups on numerous issues including the current status of music education programs, recommendations for future reform, and effective methods to enact such reforms. Results highlighted the need (a) to increase collaboration levels amongst all stakeholders involved in the process of music teacher training reform and (b) to better align the curriculum content of the university classroom with the needs of the teaching field. Implications for further practises are discussed.
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Macfarlane, Clare J. "The effect of verbal discussion on musical expressiveness." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2268.
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In this study an attempt was made to measure the effects of verbal discussion on musical expressiveness. Subjects (N =30) were all members of a conservatory symphony orchestra. The subjects were divided into three groups: Group 1 was a listening and discussion group; Group 2 listening only; and Group 3 control group, no treatment. The study used a pre- and post-test design in which all the subjects were requested to play a given melody twice. Analysis of the data, using two-tailed t tests and ANOVAs, revealed no statistically significant differences among the three groups for the effect of verbal discussion on expressiveness. The subjects' self-reports, however, illustrated that they perceived a difference in their expressive playing.
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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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Beer, Luzaan. "Music education in the foundation phase." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.
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Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.
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Cloete, Erna Petronella. "Assisting in-service grade R teachers to nurture the holistic development of the five to seven year old child through music : a participatory approach." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021177.
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Music’s significant contribution to the holistic development of the young learner is uncontested and confirmed by views of seminal scholars, such as Nzewi 2003, Reimer 2003, Nussbaum 2001, Elliot 1994 and Merriam 1964, amongst others. As such, music education supports basic values of self-growth, self-knowledge and enjoyment. This study argues for the vital importance of music education in Grade R in the South African schooling system where teachers can successfully implement the curriculum. In post-apartheid multicultural and multi-musical South Africa music education in Grade R is the sole responsibility of the generalist Grade R teacher. However, due to inadequate training and minimal, unproductive in-service initiatives, the vast majority of Reception Year teachers assumingly do not have the required competences to teach music in a way that maximally enhances the holistic development of their learners. Findings revealed that teachers exhibited limited, if any, musical knowledge and per se, they are insufficiently skilled in the effective delivery of the curriculum in terms of music. This study acknowledges the need to equip in-service Grade R teachers with the required competences to effectively implement the national school and teach music with confidence. The lack of successful and effective continuing professional teacher development initiatives from the Department of Education and Department of Basic Education to assist Grade R teachers in teaching music, was a serious concern to me. This concern reinforced the motivation to embark on this project. In this thesis, I report on an intervention strategy aimed at enabling three Grade R practitioners at one peri- urban township school in the Eastern Cape to improve their music education competencies. These three Coloured ladies only held a Certificate in Early Childhood Development, rating at an NQF level 4 and 5. None of these practitioners had any prior music experience in music training, music making or music teaching. I utilised a Participatory Action Learning and Action Research (PALAR). PALAR combines research with development and is thus highly suitable when addressing multifaceted problems in rapidly changing environments, such as South Africa. In my study, the participants were thus actively involved in identifying problems and creating solutions. A number of collaborative interactions and qualitative data generation strategies such as Focus Group Interviews, Observations, Drawing, Interviews, Narrative Inquiry, Case Study and Reflective Journals were implemented. Findings indicated that the practitioners experienced transformation on both a professional and personal level as they discovered and tapped into their own innate musical competences. This enabled them to explore ways to teach music that enhanced the holistic development of their learners, developing them physically, cognitively emotionally, socially, and musically. Learners likewise benefitted from the intervention as they experienced social cohesion in a multicultural classroom and gained the fruits of music’s remedial impact and therapeutic value in their lives.
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Clench, Renate. "Howard Gardner's multiple intelligences theory, outcomes-based education and curriculum implementation in South Africa : a critique of music education in the general education and training phase." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1218.
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This study examines the current curriculum for primary schools in South Africa – Curriculum 2005 (C2005) and the subsequent Revised National Curriculum Statement (RNCS), with Outcomes-Based Education (OBE) as its fundamental educational approach - with specific reference to the place of music education in it. While the underlying principles and scope of this curriculum has many positive attributes, numerous studies have shown that there are still major stumbling blocks in the way of its successful implementation. Since the emphasis of the Arts and Culture Learning Area is on the nurturing of generic values and attitudes towards culture, it does not provide for sufficient development of subject-specific musical skills and knowledge. Instead this vital form of musical learning continues to be provided in the form of extra-curricular music programmes by those few schools who have the staff expertise and the funding to do so. Music therefore remains accessible only to the privileged few. .Although C2005 encourages and requires significant levels of integration in Learning Outcomes and Assessment Standards within and across Learning Areas, this is currently one of the least successful aspects of its implementation. This lack of success, it is argued, is in part the result of severe limitations in the training of teachers and the availability of necessary resources in schools, and in part the result of the curriculum’s own limited interpretation of integration. Psychologist Dr Howard Gardner’s Theory of Multiple Intelligences is a holistic approach to education that stresses, amongst other things, that Musical Intelligence is one of eight vital forms of intelligence that should be accessible to all children. It is argued that educational approaches based on Gardner’s Multiple Intelligences Theory provide some insights into the integration of Musical Intelligence with other forms of learning that may usefully be applied in C2005.