Dissertations / Theses on the topic 'Music teachers in Australia'
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1
Sutcliffe, Sarah, and n/a. "An investigation into the most significant influences on the way beginning teachers incorporate music into their primary classrooms." University of Canberra. Education, 1992. http://erl.canberra.edu.au./public/adt-AUC20061109.113339.
Full textAbstract:
The aim of this study was to identify the significant influences that effect the
way beginning teachers in the A.C.T. incorporate music into their primary
classrooms.
Twenty-eight teachers from 23 different schools were interviewed in this
study. These teachers were chosen on the basis that they were beginning
teachers (teachers who were in their first, second or third year of teaching)
and had graduated from the University of Canberra from 1988 to 1990. The
teachers were interviewed over a 7 week period in Term 4 of 1990. The
interview schedule incorporated aspects of a questionnaire and an interview
employing both closed and open-ended questions.
The study found that although 71% of the teachers taught some music in
their classrooms, no teacher actually taught the whole music curriculum (as
defined by the A.C.T. Curriculum Guidelines, 1990). Singing, listening and
moving were taught by most teachers but areas of the music curriculum
such as playing, reading and writing, improvisation and composition were
rarely included. These results were influenced by factors such as the musical
background of the teachers, preservice courses, the school music curriculum,
whether or not teacher's colleagues taught music and the school's
utilisation of the music specialist. For example, teachers who taught music
were more likely to come from a school that had a music curriculum rather
than from a school that did not.
This study has implications for the development and implementation of
primary school music curricula, the reassessment of future preservice and
inservice programs, the utilisation of human resources within primary
schools and the development of more positive attitudes towards music in
schools and society in general.
2
au, fino@westnet com, and Helen Stone. "Specialist Teachers and Curriculum Reform in a Western Australian Primary School in 2002 A Comparative Study of Specialist Music, Health and Physical Education, and Languages-Other-Than-English Teaching Professionals." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070427.125141.
Full textAbstract:
This thesis details research on the first phase of curriculum reform (19992004) in a
government primary school in Western Australia. The purpose of the study was to
examine what progress had been made with the implementation of the Curriculum
Framework (1998). The research focussed on Music, Health and Physical Education,
and Languages Other than English as specialist teachers working with the
Curriculum Framework (1998). Teachers and school administrators, as frontline
practitioners, considered their experiences and perceptions of daily practice and
provided their perspectives on curriculum reform.
The hypothesis formulated for the study was that with the introduction of the
Curriculum Framework (1998) the delivery of these three subjects could be further
improved. This study argues that successful curriculum performance of these three
subjects traditionally considered specialist programs may be more fully supported
by becoming aware of the forces influencing Australian curriculum discourse and
delivery. Subject knowledge endorsement in this study refers to the transfer of valued
knowledge in Western Australian educational systems. It is proposed that if teaching
professionals articulated the substance of their educational beliefs and experiences
with regard to subject knowledge meaning, place and value, curriculum delivery in
primary schools may progress more effectively. Positive learning experiences for all
students can be provided through the encouragement of communication and
collegiality together with relevant and accessible professional development. These
measures can also be supported by mounting whole-school primary programs that
engage with beliefs about Music, Health and Physical Education, and Languages
Other Than English through collaborative networks and learning communities.
Accordingly, curriculum delivery can come within reach of the seamless curriculum
anticipated by reform (Curriculum Framework, 1998:67).
In this qualitative interview study, the frontline participants included generalist
teachers, specialist teachers and school administrators. These educational
practitioners were asked to participate in an in-depth, semi-structured discussion that
explored their perceptions of specialist teaching and knowledge while employed at
Deep Sea Primary School in 2002.
They teachers also commented on how these perceptions may be linked to their
experiences of socially constructed and established notions of valued knowledge.
The findings of this study indicated that the progressive implementation of these
three subjects or specialists areas were characterised by subtle historical, economic,
political and social forces. This thesis suggests that, these largely obscured external
forces together with individual yet, taken for granted perceptions of what is
perceived as valuable knowledge work together to position curriculum rhetoric and
curriculum enactment that reflect established perceptions of the knowledge
hierarchy. Teachers and administrators at the school often operated within the
structures and meanings of conventional teaching practice of subject knowledge as
determined by dominant culture in Australia. The findings indicated that school
culture in a time of reform re-traditionalised hierarchical patterns of subject
knowledge organisation and evaluation. Accordingly, current subject knowledge
endorsement in terms of specialist teaching often worked to the benefit of established
power relationships typical of post-industrial market economy in Australia.
The findings also indicated that issues pertaining to curriculum prioritisation were
influenced by institutional, group and individual experiences of subject specialist
knowledge. Poor perceptions of these three subjects could also be generated by
experiencing inflexible and inadequate yet established funding and resource patterns
in educational systems. Frontline teachers, their school-based roles and
responsibilities attached to the teaching and learning of the three specialist areas
were typified by rigid school organisation and job structures together with condensed
teaching time and community backing.
This thesis argues that progressive, outcomes education requires an articulate and
supportive school culture, more funding and the genuine maintenance of quality
Music, Health and Physical Education and Language Other Than English teachers. In
addition, curriculum implementation would benefit from the promotion of
constructivist-orientated student activities within specialist programs.
3
Stone, Helen. "Specialist teachers and curriculum reform in a Western Australian primary school in 2002 : a comparative study of specialist music, health and physical education, and languages-other-than-English teaching professionals /." Stone, Helen (2006) Specialist teachers and curriculum reform in a Western Australian primary school in 2002: a comparative study of specialist music, health and physical education, and languages-other-than-English teaching professionals. Masters by Research thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/350/.
Full textAbstract:
This thesis details research on the first phase of curriculum reform (1999-2004) in a government primary school in Western Australia. The purpose of the study was to examine what progress had been made with the implementation of the Curriculum Framework (1998). The research focussed on Music, Health and Physical Education, and Languages Other than English as specialist teachers working with the Curriculum Framework (1998). Teachers and school administrators, as frontline practitioners, considered their experiences and perceptions of daily practice and provided their perspectives on curriculum reform.
The hypothesis formulated for the study was that with the introduction of the Curriculum Framework (1998) the delivery of these three subjects could be further improved. This study argues that successful curriculum performance of these three subjects traditionally considered 'specialist programs' may be more fully supported by becoming aware of the forces influencing Australian curriculum discourse and delivery. Subject knowledge endorsement in this study refers to the transfer of valued knowledge in Western Australian educational systems. It is proposed that if teaching professionals articulated the substance of their educational beliefs and experiences with regard to subject knowledge meaning, place and value, curriculum delivery in primary schools may progress more effectively. Positive learning experiences for all students can be provided through the encouragement of communication and collegiality together with relevant and accessible professional development. These measures can also be supported by mounting whole-school primary programs that engage with beliefs about Music, Health and Physical Education, and Languages Other Than English through collaborative networks and learning communities. Accordingly, curriculum delivery can come within reach of the seamless curriculum anticipated by reform (Curriculum Framework, 1998:6-7).
In this qualitative interview study, the frontline participants included generalist teachers, specialist teachers and school administrators. These educational practitioners were asked to participate in an in-depth, semi-structured discussion that explored their perceptions of specialist teaching and knowledge while employed at Deep Sea Primary School in 2002. They teachers also commented on how these perceptions may be linked to their experiences of socially constructed and established notions of valued knowledge.
The findings of this study indicated that the progressive implementation of these three subjects or specialist's areas were characterised by subtle historical, economic, political and social forces. This thesis suggests that, these largely obscured external forces together with individual yet, taken for granted perceptions of what is perceived as valuable knowledge work together to position curriculum rhetoric and curriculum enactment that reflect established perceptions of the knowledge hierarchy. Teachers and administrators at the school often operated within the structures and meanings of conventional teaching practice of subject knowledge as determined by dominant culture in Australia. The findings indicated that school culture in a time of reform re-traditionalised hierarchical patterns of subject knowledge organisation and evaluation. Accordingly, current subject knowledge endorsement in terms of specialist teaching often worked to the benefit of established power relationships typical of post-industrial market economy in Australia.
The findings also indicated that issues pertaining to curriculum prioritisation were influenced by institutional, group and individual experiences of subject specialist knowledge. Poor perceptions of these three subjects could also be generated by experiencing inflexible and inadequate yet established funding and resource patterns in educational systems. Frontline teachers, their school-based roles and responsibilities attached to the teaching and learning of the three specialist areas were typified by rigid school organisation and job structures together with condensed teaching time and community backing.
This thesis argues that progressive, outcomes education requires an articulate and supportive school culture, more funding and the genuine maintenance of quality Music, Health and Physical Education and Language Other Than English teachers. In addition, curriculum implementation would benefit from the promotion of constructivist-orientated student activities within specialist programs.
4
Smart, Bonnie Jane. "Leon Caron and the music profession in Australia." Connect to thesis, 2003. http://repository.unimelb.edu.au/10187/1427.
Full textAbstract:
Leon Francis Victor Caron (1850-1905) was one of the major figures in Australian nineteenth-century opera and orchestral circles. He was a well-known and well-liked public figure, regarded with respect and affection by musicians and audiences alike. Little has been written concerning Caron’s career. Given the amount he contributed to the Australian stage, an assessment of his importance within the music profession is warranted. Most areas of Caron’s life are, as yet, totally unexplored; it falls outside the ambit of this thesis to present every detail pertaining to his varied and extensive musical career. Nevertheless, new information about a selection of Caron’s ventures is drawn upon here for the first time. Much of this material is used to examine the impact of Caron’s conducting on the orchestral profession in Melbourne and Sydney. Many of Caron’s performances (orchestral or otherwise) often featured the popular music of the day. The popular aspect of Caron as a composer is also considered, with particular reference to the incredibly successful pantomime Djin Djin. An examination of Caron’s performances gives great insight not only into the part he played in the wider profession; but it also sheds light on orchestral standards, performance practices and public tastes of the time. His contribution to the music profession in nineteenth-century Australia is extremely significant.
5
Cain, Timothy. "Mentoring trainee music teachers." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192637/.
Full textAbstract:
This study analyses the relationships between Secondary school music trainee teachers and the mentors who are primarily responsible for training them to teach music. The methodology was an in-depth collective case study of a sample of trainee music teachers and their mentors, adopting primarily the methods of non-participant observations and interviews. The study is located within a review of pertinent theories of mentoring and an analysis of empirical research. This analysis compares studies of ITT mentoring in different contexts, and demonstrates that, despite the diversity of mentoring practice, research has produced findings which are consistent across two or more studies. The collective case study consists of five individual cases ofmentoring relationships, each of which is presented so as to preserve its individuality. The talk in meetings between trainees and their mentors is then analyzed drawing on Mercer's (1995) typology of classroom talk as exploratory, cumulative and disputational. The analysis shows that exploratory talk has an underlying structure which is missing in cumulative and disputational talk. Analysis ofthe talk also reveals three further types of conversation between mentors and their trainees which are characterised as solo conversations, short conversations and parallel monologues. The study has two major conclusions: first, that in mentoring conversations exploratory talk is more likely to promote productive reflection than other types of talk, and second, that the potential for exploratory talk to promote reflection may not be fully realised by music mentors.
6
Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.
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7
Morrow, Guy Richard. "Managerial creativity a study of artist management practices in the Australian popular music industry /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.
Full textAbstract:
Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006.Bibliography: p. 377-385.
Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity.
Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain 'brands', and this is a creative industry function. The thesis begins with a description of what artist management is, then it reviews the way in which various Australian musicians' and artist managers' careers are created and maintained. A musical idea or product arises from the synergy of many sources and not only from the mind of a single person (Csikszentmihalyi, 1996). Therefore it is easier to enhance creativity by changing conditions in the environment the artist is located in than by trying to make artists think more creatively. Managerial creativity involves the creation and maintenance of the system, context or environment from which artistic creativity emerges and is therefore the facet of the music industry that can most effectively enhance musical creativity.
Mode of access: World Wide Web.
ix, 390 p., ill
8
Whitehead, Kay. "Women's 'life-work' : teachers in South Australia, 1836-1906 /." Title page, abstract and contents only, 1996. http://web4.library.adelaide.edu.au/theses/09PH/09phw592.pdf.
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9
Sharplin, Elaine Denise. "Quality of worklife for rural and remote teachers : perspectives of novice, interstate and overseas-qualified teachers." University of Western Australia. Graduate School of Education, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0211.
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[Truncated abstract] It is essential to attract, recruit and retain quality teachers in rural and remote schools for provision of quality education to rural and remote students. A robust body of research confirms that teacher quality contributes to quality of education (Darling-Hammond, 2000; Hay McBer, 2000; Kaplan & Owings, 2002; OECD, 2002; Ramsay, 2000). Staffing histories of rural and remote schools identify persistent difficulties in recruiting and retaining teachers, but previous research has failed to address the experiences and perspectives of rural and remote teachers from the earliest phases of appointment, tracking their experiences over time. In times and places of persistent teacher shortages, teacher quality of worklife issues are paramount. Factors impacting on teacher quality of worklife may impact on teacher retention, staffing levels and ultimately the quality of education for children. For these reasons, this study aimed to develop substantive theory about the experiences of teachers commencing appointments in rural and remote schools by investigating the perspectives of novice, interstate and overseas-qualified teachers. The study sought to develop understandings of rural and remote teachers quality of worklife. In order to achieve this aime, the experiences of 29 teachers were examined, in four categories of teachers likely to be appointed to rural and remote locations: young novices; mature-aged novices; interstate; and overseas-qualified teachers in a qualitative collective case study. ... Awareness of the variety of factors in multiple environments, and the complex interplay between them, helps to account for the diversity of perspectives and quality of worklife outcomes for rural and remote teachers. Two theories were generated from ten propositions. The first theory, Quality of Worklife for Rural and Remote Teachers: Person-Environment Fit to Multiple Environments, identified protective and risk factors associated with workrole, workplace, organisation, geographic and socio-cultural community environments. The theory recognises spillover between work and non-work life experiences, impacting on quality of teacher worklife; however, factors directly associated with worklife impacted most significantly on quality of worklife. The second theory, Processes of Adaptation to Multiple Rural and Remote Environments, identified processes (teacher expectations, evaluations of environments, responses to environments) and coping strategies (direct-action, palliative and avoidant) as leading to one of four outcomes: integration; resilient integration; disequilibrium; and withdrawal. The case study findings offer original understandings of experiences of teachers newly appointed to rural and remote schools, through the development of theory about multiple environments teachers encounter and processes of adaptation associated with their relocation to rural and remote areas. The findings have implications for theory, policy and practice, and contribute new dimensions to the general quality of worklife literature.
10
Hocking, Rachel School of Music & Music Education UNSW. "Crafting connections: original music for the dance in Australia, 1960-2000." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/27289.
Full textAbstract:
This thesis documents the artistic connections made between composers and choreographers in Australia during the period 1960-2000. These 40 years saw a growth in the establishment of dance companies, resulting in many opportunities for composers to write original music for original dance works. The findings of original dance-music are tabulated in an extensive database giving details of 208 composers and over 550 music compositions written specifically for dance. Examples of choreographer and composer collaborative relationships and attitudes to each other???s artforms are discussed. Further examination of how these relationships have affected the sound of the music is detailed in four case studies. These concern the works The Display (music by Malcolm Williamson, choreography by Robert Helpmann, 1964), Poppy (music by Carl Vine, choreography by Graeme Murphy, 1978), Ochres (music by David Page, choreography by Stephen Page, 1994), and Fair Exchanges (music by Warren Burt and Ros Bandt, choreography by Shona Innes, 1989). These case studies look at dancemusic collaborated in different styles: ballet, modern dance, dance-theatre and experimental dance. This discussion is carried out through the analysis of the context of the collaborative relationships, and the temporal and interpretive aspects of the original dance-music. It is found through the investigation of collaborative relationships and discussion of these case studies, that similar methods of writing are used when composing music for theatrical dance, regardless of the type of dance. These methods show that composers have intentionally crafted scores that fulfil needs in the dance works and that are suited to choreographers??? intentions. Importantly, it is also found that involvement with dance has influenced some composers??? styles, aided musical innovation and added significantly to the corpus of Australian music.
11
Marshall, Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Ngapartji-ngapartji : ecologies of performance in Central Australia : comparative studies in the ecologies of Aboriginal-Australian and European-Australian performances with specific focus on the relationship of context, place, physical environment, and personal experience." THESIS_CAESS_SELL_Marshall_A.xml, 2001. http://handle.uws.edu.au:8081/1959.7/556.
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All forms of cultural interaction are expressive and creative. In particular, what the performing arts express is not always the conscious, the ideal and the rational, but more often the preconscious, pre-verbal, asocial and irrational, touching on darker undercurrents of human and extra-human interrelations, experiences, beliefs, fears, desires and values. So what is performance and how does it differ in cultures? A performance is a translation of an idea into a synaesthetic experience. In the context of this thesis, however, translation does not imply reductive literal translation as can be attempted by analogy in spoken or written descriptions and notation systems. The translation is one through which participating groups and individuals seek to understand the being in the world of the Other by means of mutual, embodied negotiation of meaning - sensually, experientially, perceptually, cognitively and emotionally - that is, by means of performance. As a contribution towards a social theory of human performance, the author offers reflections on an exchange between two performance ecologies - those of a group of Aboriginal Australian performers from Mimili, Central Australia and a mixed ethnic group of Australian performers from Penrith, NSW, Australia.Doctor of Philosophy (PhD)
12
Young, Sharon M. "Music teachers' attitudes, classroom environments, and music activities in multicultural music education /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.
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13
Cusano, Janice M. "Music specialists' beliefs and practices in teaching music listening /." Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.
Full textAbstract:
Thesis (Ph. D.)--Indiana University, 2004.Computer printout. Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0878. Adviser: Mary Goetze. Includes bibliographical references (leaves 205-223), abstract, and vita.
14
Southcott, Jane Elizabeth, and mikewood@deakin edu au. "Music in state-supported schooling in South Australia to 1920." Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104134.
Full textAbstract:
This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented.
Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades.
As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm.
The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools.
The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.
15
Maximova, Galina, and res cand@acu edu au. "Russian Orthodox Music in Australia: The translation of a tradition." Australian Catholic University. School of Arts and Sciences, 1999. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp217.04092009.
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For over 50 years the presence of Russian people has been significant in Australia and the Russian Orthodox Church has been established in 24 centers in all states and territories. The richness of the musical heritage of the Russian Orthodox Church is well known; it has a tradition extending over many centuries and one which embraces an enormous repertoire of various styles of chant together with a vast repertoire of polyphonic music, much of it by famous composers. At this point in time there has been virtually no documentation of the history and practice of Russian Orthodox liturgical music in Australia. There are three histories of the Russian church in Australia (Protopopov 1997, 1998, 1999) but the topic of music is not addressed. This is also true of Galina Zakrjevsky's history of St Nicholas Russian Orthodox Cathedral (1998). Studies of Russian immigration to this country include the dissertation by Maria Frolova (1996) and the book by Elena Govor (1997). While liturgical music is not a concern of these writers, their studies nevertheless provide useful background material for an investigation into Russian Orthodox Liturgical music as practised in this country. There are of course numerous studies of Russian church music, notably by Gardner (1980) and Morosan (1991). Their focus is understandably Russian and these books are essential for any understanding of the Australian experience of such liturgical music. This study thus seeks to document the practice of Russian Orthodox liturgical music in Australia from 1926 to 1999. The central research questions are: What is and has been the makeup of Russian Orthodox church choirs in Australia? What is the repertoire of these choirs? What training is available for choristers? To what extent have Australian choirs been able to maintain the traditions of Russian Orthodox liturgical music? What changes have taken place in performance traditions during the time of settlement? In order to achieve these aims there has been a heavy reliance on surveys by means of a questionnaire and interviews with choirmasters, choristers and clergy in five states. Extensive use has been made of archival sources and church magazines such as Word of the Church and Australiada: A Russian Chronicle. Material for a background study of Russian Orthodox music has been drawn from Secondary sources such as Gardner, Morosan, Brill, and Rasumovsky and for a background history of Russian Orthodox church in history of the Russian Orthodox church in Australia from 'A short history of the first Russian Orthodox parish in Sydney' by Soovoroff. For the discussion in Part 2: The Australian Scene special consideration has been given to four choirs: SS Peter & Paul's Cathedral (Sydney), St Nicholas Cathedral (Brisbane), St Nicholas Church (Adelaide), Holy Dormition Church (Dandenong), Holy Virgin Protection Cathedral (Melbourne), the reason being that these represent the different levels of choral standards in this country. Thus these embrace one choir of a large cathedral church, one of a moderately sized cathedral church, one of a very small cathedral church and one of a tiny parish church. The approach adopted involves an examination of the makeup of these selected choirs throughout the time frame of the study. This is followed by an analysis ofthe their repertoire, based on repertoire lists supplied by choir directors. Due to the paucity of source material and fading memories of informants, it has often been impossible to identify key persons by their name: only the surname and initial can be given.
16
McGuire, Anthony. "Pupil teachers and junior teachers in South Australian schools 1873-1965 : an historical and humanistic sociological analysis /." Title page, contents and abstract only, 1999. http://web4.library.adelaide.edu.au/theses/09PH/09phm148.pdf.
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Seah, Wee Tiong. "The negotiation of perceived value differences by immigrant teachers of mathematics in Australia." Monash University, Faculty of Education, 2004. http://arrow.monash.edu.au/hdl/1959.1/5456.
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18
Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface." James Cook University, 2006. http://eprints.jcu.edu.au/1834/1/01front.pdf.
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The research focuses on quality issues within the private music teaching
industry and the public music examination system (PMES).
It is clear that there is a schism between the formalized structures and
accountabilities of music in the school system and the lack of such structures
and accountabilities with the private studio music teaching industry. The
Thesis traces the literature documenting the rise of the private music teacher
and the accountability rationale implicit in the development of the public
music examination system. The dual aims of the research focus on the need to
profile the private music teaching industry in Australia and to probe the extent
to which the public music examination system might, in practice, afford a
window of accountability on to this industry.
The literature foregrounding this study derives from three areas: the historical
development of the private music teaching industry; the concomitant need for
certification - and the resultant development of the public music examination
system; finally the issue of performance assessment across the relevant
disciplines is explored to provide research direction for music.
A limited profile of the private music teacher emerged from the first phase of
the study. While the respondent sample was smaller than was originally
envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the
findings from the current study were consistent. The second phase focussed
specifically on the public music examination system and its tangible outcomes
in the form of the examination report.
Five examiners were male and three female. Reports were analyzed in terms
of the relevant examination sections with a primary focus on the Technical and
Performance lists sections. In each section reports were segmented into idea
units as the basic unit for analysis. Categories were derived from the data and
each idea unit was categorized accordingly. Examiners’ use of categories was
analyzed in each section and comparisons made between examiners.
Considerable examiner variability was identified.
A discussion of gender differences in accessing categories generates
hypotheses for further research. Discussion of marks awarded by examiners
leads to hypotheses about the implications of exposure to one examiner rather
than another.
While this is but a small scale study and possibly the first in the music genre,
its implications for further research are far-reaching. Implications for the
discipline are also explored.
19
Fordice, Billy Donald. "Exploring wholeness in music teachers' lives." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10993.
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Thesis (D.M.A.)--Boston UniversityThis qualitative research explored how the retelling of a life story influenced teachers' self-understanding. Informed by the disciplines of psychology, anthropology, and philosophy I constructed a conceptual framework of life as a continuous narrative, reflected and focused by past and anticipated experiences. This framework was informed by Dewey's concept of continuous flowing life experiences, Bakhtin's understanding of the dialogic nature of those experiences, Husserl's explanation ofthe role of memory in that experiential dialogue and Bruner's writings regarding life-as-narrative. Through this lens, the potential for wholeness of identity was explored by making visible the connections between past and present life experiences and observing how each impacts understanding of the other. Using the narrative inquiry method, life-story interview, the researcher wrote guided autobiographies with three music teachers. Individual interviews with participants were conducted, facilitating their storytelling. From these interviews, each participant's life story was written in his or her own words. Interpretations from theories that arose from their stories were offered. Viewed through Bruner's metaphor of participants' canons (how they believed the world was) and exceptionalities (the ways their lives grew away from their canons), the research suggested that each lived experience informs and reframes another, making the aim not reconciliation, but accepting that the process of becoming is one's Self, and that our identity is not found in an event, or an understanding, but a continuous act of invention and discovery. Among conclusions was the importance of life reflections as a continuing tool in music teacher personal and professional development. Specific implications for music educators, music teacher educators and for future research were also discussed.
20
Fiorillo, Risa Maree. "Music handbook for primary grade teachers." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1739.
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Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.
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Brennan, Marc Andrew. "Writing to Reach You: The Consumer Music Press and Music Journalism in the UK and Australia." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16141/.
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The music press and music journalism are rarely subjected to substantial academic investigation. Analysis of journalism often focuses on the production of news across various platforms to understand the nature of politics and public debate in the contemporary era. But it is not possible, nor is it necessary, to analyse all emerging forms of journalism in the same way for they usually serve quite different purposes. Music journalism, for example, offers consumer guidance based on the creation and maintenance of a relationship between reader and writer. By focusing on the changing aspects of this relationship, an analysis of music journalism gives us an understanding of the changing nature of media production, media texts and media readerships. Music journalism is dialogue. It is a dialogue produced within particular critical frameworks that speak to different readers of the music press in different ways. These frameworks are continually evolving and reflect the broader social trajectory in which music journalism operates. Importantly, the evolving nature of music journalism reveals much about the changing consumption of popular music. Different types of consumers respond to different types of guidance that employ a variety of critical approaches. This thesis, therefore, argues that the production of music journalism is one that is influenced by the practices of consumption.
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Junda, Mary Ellen. "The development of a model inservice teacher education program in music sight reading methodology /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936695.
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Gwatkin, Jan. "Investigating the viability of a national accreditation system for Australian piano teachers." University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0099.
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The Federal education system has 12 nationally accredited and portable qualifications issued by the Australian Qualifications Framework (AQF) which cover three sectors; Higher Education, Vocational Education and Training (VET) and Schools. A mandatory minimum bachelor qualification together with education units, state registration and ongoing professional development is imposed for all classroom music teachers. In direct contrast, however, Australian studio piano teachers and school instrumental teachers may or may not have formal qualifications, registration with professional associations, or ongoing professional development. All teachers must be registered with State registration boards for Working With Children (WWC) but no monitoring controls exist for studio teachers. Qualifications are available from public examination boards, private enterprises and state Music Teacher Associations (MTAs) but these are not recognised within the national system and consequently have no status or portability, although they are used and recommended within the industry and higher education institutions as course prerequisites. The aim of the current study was to investigate whether a National Accreditation System (NAS) for Australian studio piano teachers could be a viable system, adding unprecedented professionalism to the field and drawing upon the existing systems of government, private industry and educational institutions. In the thesis, current systems of accreditation, education and training available for classroom music teachers, school instrumental music teachers and other recognised professions such as lawyers, engineers, accountants, health professionals and sports coaches were reviewed as a comparative basis upon which to assess similar contexts for studio piano teachers. Results are combined with a survey of Australian piano teachers' perceptions, from which the study ascertained the extent to which studio piano teachers' needs were being catered for and met in available systems of accreditation and training.
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Tsounis, Demeter. "Rebetika music-making in Adelaide : diaspora musical style and identity /." Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09pht88195.pdf.
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Cook, Andrew S. "A poststructural investigation of music teachers and music education in film." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10970.
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Thesis (D.M.A.)--Boston UniversityAs popular texts that circulate widely, films contribute to the way groups, individuals or ideas are understood in society. In this study I sought to explore the portrayals of music teaching in Hollywood movies, and examine the ways films might contribute to the occupational identity of music teachers. This investigation focused on four films that feature music teachers as major characters and that demonstrate a prevalent position in public consciousness as indicated by commercial success: Mr. Holland's Opus (1995), Music of the Heart (1999), Drumline (2000) and School of Rock (2002). I employed two poststructural approaches to analysis which view meaning as plural, negotiated and produced primarily by the reader's encounter with the text. One reading uses Derrida's project of deconstruction to focus on aporias, or paradoxes, and assumptions upon which texts make claims of truth. Aporias of responsibility, hospitality and the gift serve as lenses through which I investigate issues of professionalism, access and the image of the hero-teacher within music education. A second reading uses an intertextual approach to film analysis, acknowledging that texts derive meaning in part from their association and communication with other texts. Using related films, texts from popular culture and movie reviews, I investigate how these films construct images about gender, race and the value of music in schools. Exploring possible dominant, negotiated and contrary readings of these film texts, I look at a variety of possible interpretations and suggest ways that the films might be used by teachers and pre-service teachers to better understand expectations that people carry with them into the music education environment. As films may be used as sources for common-sense understandings in society, I explore how these films may act as structures to the agency of music teachers and how the negotiation of these portrayals might impact the music education environment.
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Holmberg, Susan D. "Music teachers’ perceptions: the role of music education in early literacy." Diss., Kansas State University, 2010. http://hdl.handle.net/2097/4635.
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Doctor of PhilosophyCurriculum and Instruction Programs
Jana R. Fallin
In the wake of No Child Left Behind Act (U.S. Department of Education, 2006), educational reforms focused on providing students with effective systematic instruction in reading skills have become a nationwide concern. Report findings from the National Reading Panel (National Institute of Child Health and Human Development, 2000), indicate the establishment of a high quality comprehensive reading curriculum must include the five key components of phonemic awareness, phonics, fluency, vocabulary, and comprehension to improve reading achievement. These essential elements, with emphasis on phonemic awareness and phonics skills beginning in pre-kindergarten, are instrumental in the acquisition of early literacy development. The purpose of this qualitative study was directed toward better understanding first grade general music teachers’ perceptions of the role of music education in the attainment of early literacy. Using a multi-site case study design to examine and present an analysis of nine public elementary school music educators from across a Midwestern state, each of which used one of the three elementary general music series currently published, resulted in this collective case study. Data indicated parallels focused on the five key reading components between music and language literacy development processes, with particular emphasis on aural discrimination skills to phonemic awareness. Further findings described the sequential sound before symbol pedagogical practice of music literacy development from the perspective of the nine general music educators to be similar to early reading skills progressions, as they experienced equivalent learning processes. Implications for the educational community and suggestions for further research were discussed.
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Duncan, Sara Anne. "Assessment Practices of String Teachers." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/183.
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The purpose of this study was to explore string teachers? assessment practices related to string program success. Additionally, the study examined the relationship between teacher characteristics and string program success. This study was conducted by surveying string teachers (N = 201) from around the country. The survey was designed based on the independent variables of teacher characteristics and assessment practices, and the dependent variable of string program success. Results indicated that string teachers most frequently assess with teacher-given verbal criticism, rehearsal skills, attendance, teacher-rated rubrics, and student evaluations. The least common assessment practices used by string teachers were composition assignments, music history assessments, portfolio assessment, improvisation/creativity assignments, and cross-curricular assignments. String program success was correlated with the assessment practices of written assessments, student reflections, teacher-rated rubrics, sightreading skills assessment, student evaluations, music theory assessments, music history assessments, and portfolio assessments, and student rated rubrics. Years of teaching, level of education, musicianship-based assessment, and student-based assessments were predictors of string program success. String program success did not differ as a function of years teaching, however there is a difference in string program success within the characteristics of gender, education level, and primary instrument, as well as primary instrument by education level.
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Gohlke, Linda J. "The music methods class : acquisition of pedagogical content knowledge by preservice music teachers /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11208.
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McKenna, Tarquam. "Heteronormativity and rituals of difference for gay and lesbian educators." University of Western Australia. Graduate School of Education, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0129.
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This research provides an ethnographic and phenomenological study of how lesbian and gay educators in Western Australia employed adaptive rituals of conformity and nonconformity within their educational culture. This thesis depended on these educators telling their own story and it became a more complex study of their perception of and adaptation to homophobic distancing and repression. Through private interviews and collaboration with the co-participants in the research the study makes sense of the roles lesbian and gay educators enact in the educational culture in Western Australia around the time of Law Reform in 2002. The study is not an historical account but presents data from a specific historical context as a contribution to knowledge of how lesbian and gay educators view themselves and construct themselves in educational settings. The stories of everyday experience of Western Australian lesbian and gay educators present layers of gestured meanings, symbolic processes, cultural codes and contested sexuality and gender ideologies thereby reconstructing the reality of lesbian and gay educators. The research provides a range of embodied narratives and distinctive counter-narratives experienced by this group of educators in Western Australia. The study demonstrates that there are social practices in schooling that assist in the recognition and construction of their own gender identity even though the law in Western Australia at the time of writing, precluded the public promotion of lesbian and gay activities, and by association, silenced what many take to be their preferred mode of public behaviours. More importantly the study maps the extremely subtle processes involved in generating and expressing homophobia resulting in a sense of double invisibility, a constitutive silencing of personhood, which makes even the identification of rituals problematic. The very different stories reveal various interpretive strategies of belonging to the dominant homophobic culture, furthering our understanding of the contemporary identity formation issues of a hitherto invisible and silenced group of educators.
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Ausmann, Stephen Wade. "Characteristics of in-service urban music teachers and pre- service music teachers in Ohio and their attitudes toward teaching music in urban schools /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487687115923089.
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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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Meadows, Julie. "Music Teachers' Perceptions of Targeted Professional Development." ScholarWorks, 2017. https://scholarworks.waldenu.edu/dissertations/3459.
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The fundamental purpose of teacher professional development programs is to improve instructional effectiveness and increase student learning. However, the target district offered no programs that focused on helping teachers develop strategies to meet state standards in music education. The purpose of this qualitative case study was to investigate elementary and middle school music educators' perceptions regarding the need for targeted professional development programs. Self-determination theory served as the foundation for this study. Research questions concerned participants' views of the impact of district professional development programs on their competency in enhancing students' musical skills and their decision-making and connectedness with other music education teachers. Participants included a unique purposeful sampling of 9 music educators. Data from individual questionnaire interviews, a focus group, and a reflective field journal were analyzed for key themes. These themes were relevant professional development, limited access to resources, and lack of time for music professional development. Participants perceived that effective professional development provided music educators with sufficient time to plan, network, and collaborate with one another and incorporated relevant resources. Based on these findings, a professional development workshop was designed to help music educators in developing a professional learning team. Targeted professional development programs, such as the one developed in this study, may help music educators increase student achievement, which may potentially result in positive social change.
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Cocco, Brad J. "How Do Music Teachers Measure Student Growth?" Ashland University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ashland1416567235.
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Hammond, Susan J. "Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians." Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.
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Siebert, Johanna J. "Why music teachers remain in the profession : conversations with career music educators /." Digitized version, 2007. http://hdl.handle.net/1802/5629.
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Meidinger, Valerie. "Multicultural music : attitudes and practices of expert general music teachers in Oregon /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055699.
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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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Feay-Shaw, Sheila J. "The transmission of Ghanaian music by culture-bearers : from master musician to music teacher /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11281.
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Bennett, Dawn Elizabeth. "Classical instrumental musicians : educating for sustainable professional practice." University of Western Australia. School of Music, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0002.
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[Truncated abstract] This study extends understanding of the careers of classical instrumental musicians within the cultural industries, and ascertains the extent to which professional practice is reflected within current classical performance-based music education and training. Little is known about the careers of classically trained instrumental musicians in terms of the activities in which they engage and the skills and attributes used to sustain their professional practice, and there is also widespread lack of understanding about the music industry and the wider cultural industries. The extent to which education and training reflects the careers of music performance graduates has gained heightened exposure at the same time as higher education institutions have become increasingly accountable for the employability of graduates, and yet much of the available literature has only tangential relevance and there remains a shortage of literature relating to the complex area of creative practice. The research approach for the study bridges both the interpretive and normative paradigms. Using survey and interview methods, the study employs three distinct but interrelated data collections to investigate sustainable professional practice through analysis of musicians’ careers, performance-based education and training, and the cultural industries. The study identifies the longitudinal characteristics of musicians’ professional practice and presents in a conditional matrix the intrinsic and extrinsic influences that impact upon it. The study proposes a practitioner-focussed Arts Cultural Practice (ACP) framework that consists of four practitioner-focussed, non-hierarchical groups which were determined through analysis of the major foci characterising roles within the cultural industries. As such, the ACP framework represents a new paradigm of sustainable practice that circumvents existing barriers; submitting a non-hierarchical view of cultural practice that clearly indicates the potential for an exciting diversity of holistic practice often not considered by practitioners. The ACP curricular model posits the collaborative delivery of generic skills across artforms. This study substantiates the generic skills used by artists throughout the cultural industries, and confirms the rationale for education and training which considers the sustainability of music graduates’ careers as arts cultural practitioners. Thus, individual strengths and talents should be developed according to the intrinsic and extrinsic influences which drive the passion for arts practice.
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Cox, Patricia Huff. "The Professional Socialization of Arkansas Music Teachers as Musicians and Educators : The Role of Influential Persons from Childhood to Post-college Years." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277995/.
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The purpose was to investigate the role of influential persons in the professional socialization process of music educators as musicians and teachers. The problems were to determine: who encouraged subjects toward music and teaching during pre-college, college, and post-college years; and the interrerationships of gender and teaching specialty with influential persons in subjects' lives.
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Veale, Ann. "The relationship of the practicum to teacher development." Title page, table of contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09EDM/09edmv394.pdf.
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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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Ballantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16074/.
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The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perceived needs in relation to their preservice preparation. The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth. Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching.
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Michel, Jimmy. "Elementary Music Teachers' Perceptions of the Effect of Budget Reductions on Music Education." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/4746.
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Since 2007, many U.S. music education programs have been negatively affected by budget reductions at the local, state, and national levels. Although researchers have studied the effect of budget reductions on music education, they have not widely examined the perspectives of teachers who have experienced these reductions. The purpose of this study was to explore elementary music teachers' personal and professional experiences with budget reductions, and the perceptions of how their programs, students, schools, and communities have been affected by the budget reductions. The philosophies of Kodaly and Richards served as a conceptual framework for this qualitative case study. The primary research questions asked participants about their experiences with and perceptions of the effect of budget reductions on music programs at their schools and on their students. Interviews were conducted with 9 elementary music teachers. Data were analyzed using pattern coding to identify key themes. The 6 key themes identified were love for music and teaching music; pride in music programs and curricula; belief in the benefits of music education for all students, especially for low income students; senses of loss; adaptation and coping with loss; and sense of the future. Based on the findings, a professional development program was developed to assist music teachers to learn strategies to support music programs and become effective music education advocates. This project study may foster positive social change by encouraging teachers to collaboratively advocate for music education in communities and devise strategies that will allow for the sharing of scarce resources.
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Tufekcioglu, Arzu, and Sinik-Panic Duska. "Music in preschool - a qualitative study of teachers use of music in preschool." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29712.
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Syftet med vår studie är att synliggöra förskolepedagogers inställning till och användande av musik som ett pedagogiskt redskap i förskolan. För att samla relevanta empiriska data har vi använt intervju och observation som metoder. Urvalsgruppen består av 6 pedagoger från två förskolor. Vi har valt att undersöka en förskola med musikinriktning och en som inte har någon speciell inriktning.I vår undersökning har vi kommit fram till intressanta resultat så som att pedagoger har positiv inställning till musik och använder musik i sitt pedagogiska arbete både som mål och pedagogiskt medel. I båda förskolorna använder pedagoger musik för att det gynnar barns språkutveckling, sociala och emotionella utveckling. Musik används som ämnesintegrerande verktyg och det ökar barns inflytande och delaktighet i den dagliga verksamheten. Det verkar även lugnande på barnen.
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Fleischaker, Rachael Lynn. "Culturally Responsive Music Education: Conceptual and Practical Approaches of Elementary General Music Teachers." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620832759515162.
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Williamson, John. "Working with teachers : the implementation and evaluation of an innovative in-service programme." Thesis, University of Leicester, 1987. http://hdl.handle.net/2381/35687.
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This thesis is concerned with the development and evaluation of a new approach to helping teachers change their classroom practice. The model adopted combined elements from the action-research model and the 'coaching' model, and findings from the curriculum implementation studies. Governments are concerned increasingly to introduce new centralised curricula in response to social changes or economic pressures. In the community there are calls for widespread reform of schooling at all levels. Also, with changes in their career patterns it is imperative that teachers, who are likely to be teaching for thirty or forty years, have available a sustained programme of professional development. Regardless of the origins of the calls for change, to be successful the introduction of a new school practice must be accompanied by a corollary programme of teacher education. Typically, however, in-service education has lacked direction, been inappropriate and been poorly executed. While the focus of the thesis is upon the fidelity of implementation of the new teaching strategy, it also reports on the teachers' understandings of the classroom dynamics, their feelings of self-confidence and perceptions of his or her principal as a supporter of classroom innovation. In the present economic and political climate judgements must be made about the worth of particular in-service programmes. Several important dimensions of an in-service programme were used to compare the innovative model with an action-research model and a 'typical' in-service model. On the criteria considered the innovative model fared better than the other two models. Recent changes to in-service education in the U.K., announced in DES Circular 6/86, have meant a high degree of similarity in the espoused purposes and procedures of the British and Australian Governments. The in-service programme outlined here is well-suited to the new in-service policies and financial arrangements in both countries.
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Carter, Karen. "Itinerant teachers of music : a state of flux." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2003. http://hdl.handle.net/10092/3552.
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Teachers who are itinerant contend with many factors that complicate their ability
to deliver programmes. This thesis investigates the experiences of one such group
of itinerant educators, Itinerant Teachers of Music (ITMs). They are responsible for
the teaching of instrumental music in secondary schools in AotearoalNew Zealand.
I used a case study to examine the phenomenon of itinerancy and considered the
experiences of ITMs and ITM Co-ordinators in the Canterbury region and the
views of the Heads of Music Departments (HoDs Music) with whom they work.
This included observing ITMs at work and interviewing ITMs, ITM Co-ordinators,
and HoDs Music about being itinerant. I consulted strategic documents such as
music education reports, curriculum statements and job descriptions to examine the
place of ITMs in official music education discourses.
A social constructionist perspective underpins the research. Social constructionism
emphasises the socially constructed reality of ITMs' experiences and raises issues
of power and access to those discourses that define itinerancy.
I argue that itinerancy as encountered by ITMs is characterised by three main
themes: temporality, invisibility and adaptability. Time dominates itinerant work.
Teaching is compressed into twenty minute blocks, travel times are minimised. An
ITMs day is intensive, with scarcely a wasted minute. This influences the quality
oftheir work and interactions with colleagues. Their present situation is affected by
historical discourses of itinerancy, their future determined by current restrictions.
To be itinerant, with multiple work sites and frequent travel is to be largely
invisible. This invisibility, as ITMs engage in their work, impacts on their identity,
status, relationships and place in schools and educational discourses. Adaptability
and flexibility are essential ITM traits. ITMs are required to conform to the
demands and expectations .of diverse school systems, HoDs Music and students, as
well as their own employers, as they work within systemic constraints. They are
multi-skilled musicians and teachers.
ITMs work in conditions intensified by itinerancy where temporality, invisibility
and adaptability are the criteria by which they are defined and they have defined
themselves. I conclude with nine recommendations for change that involve a
review of the operational structures regulating the practice of itinerancy in the ITM
programme and an examination of the resources allocated to it.
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Doughty, Judy A. "Inclusion and adaptation resources for general music teachers /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131591844.pdf.
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Maranzano, Charles. "Evaluating music teachers in Virginia: Practices and perceptions." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539618548.
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The purpose of this study was to investigate current evaluation practices in Virginia and to assess the impact of public school evaluation upon teachers of music. Traditional methods for the evaluation of teachers appear to have limited applicability for the majority of elementary and secondary school educators engaged in the field of performing arts, due primarily to the specialized nature of their respective teaching disciplines. Educational administrators charged with the responsibility for evaluating personnel confront an additional challenge when compelled to apply general models that are not suited to the highly complex world of performing arts instruction. Music teachers and school divisions in Virginia served as sources of data for this descriptive study.;In order for educators to make informed evaluation decisions, comprehensive information about the contributions of music and other fine and performing arts personnel will need to be considered. New evaluation models emerging in recent years may hold the key for a more inclusive view of teaching performance in the arts. This study explored the use of current evaluation models in the context of music education and addressed the need for more reliable approaches to the evaluation of music teachers.