Relevant bibliographies by topics / Music teaching / Dissertations / Theses

Dissertations / Theses on the topic 'Music teaching'

To see the other types of publications on this topic, follow the link: Music teaching.
Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Music teaching.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

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

Full text
Abstract:
This text is the carefully adapted transcription of the recording of the presentation of Zheng Li and Huo Gua at the symposium in Leipzig 2014. Prof. Dr. Zheng Li read parts of her presentation in Chinese language alternating with her assistant Huo Gua, who translated into English. Only the English part is printed in this book. The title is given from the editor.
APA, Harvard, Vancouver, ISO, and other styles
2

Johnson, Sherry Anne. "High-school music teachers' meanings of teaching world musics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22326.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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 text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
4

Higginbotham, Lee Ann M. "Teaching techniques : suggested techniques in teaching music through performance in choir /." View online, 2008. http://repository.eiu.edu/theses/docs/32211131459702.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Cromwell, Robert G. "Consuming music and teaching music : a case study in creativity." Thesis, Loughborough University, 1995. https://dspace.lboro.ac.uk/2134/7001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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

Full text
Abstract:
The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.
APA, Harvard, Vancouver, ISO, and other styles
7

LaLonde, Kirsten M. "Teaching Music to the Hearing Impaired." Thesis, Minot State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10684252.

Full text
Abstract:

Elementary music teachers often have students who are hard-of-hearing participating in their classes. Teachers need to be aware of what hearing impairments are and how these hard-of-hearing students have entered the music classroom. The present text explores assistive hearing technology, general music education for students with hearing loss, adaptations for the general music classroom, instrumental music for students with hearing loss and a brief explanation of song signing. The author attempts to better understand which strategies can be used to improve the music education of hard-of-hearing students.

APA, Harvard, Vancouver, ISO, and other styles
8

Packard, Jonathan Frederick. "Released-time music teaching in Kansas." Thesis, Kansas State University, 1986. http://hdl.handle.net/2097/9944.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Yuasa, Aya. "Teaching and learning music in Japan." Thesis, University of Reading, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399390.

Full text
Abstract:
This research aims to identify the role of compulsory music education in the formation of Japanese society and identity. It investigates the teaching and learning of music in Japan at· grassroots level within an holistic context. In order to place school music education within the historical and sociological contexts of Japanese society, it focuses upon four schools and eight organisations of music teaching and learning outside the school system. It discusses the relationship (or lack of a relationship) between such contexts, which is determined, for example, by political, personal, social and cultural factors. It also highlights that much of what happens in classrooms today is related to wider social issues which have their origins in the past. The research suggests that the present system of music education needs further review and change if it is to claim convincingly its value within Japanese schools. It argues that a scheme is needed to assure the quality of teachers and teaching. The absence of an inspection system means that policy is regularly formulated at grassroots level, largely in a way that is governed by personal beliefs, experiences and peer pressures, rather than by government itself. It also outlines the lack of a relationship or even understanding between the different systems of music education in Japan, notwithstanding the finding that pupils' musical experience outside school influences their attitudes towards music lessons in school. It argues that the school system needs to acknowledge the existence of musical le,a r.n ing outside schools and needs to accommodate pupils' musical experiences outside school. The research also discusses issues such as the place of Japanese music in schools, the role of specialist music teachers in elementary schools, the role of music in schools, and the aims and objectives of music education in schools.
APA, Harvard, Vancouver, ISO, and other styles
10

Arnold, Amber Wily. "Teaching Outside a Specialty| An Examination of String-Trained Music Educators Teaching Winds in California." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10840573.

Full text
Abstract:

In California, music teachers are credentialed to teach all subjects in music with a single, broad credential. This practice as well as district hiring practices may result in many teachers working outside of their specialty. The purpose of this study is to determine techniques for building knowledge specifically for string-trained teachers to find fulfilment teaching students who are learning wind instruments. This study addresses the motivation for these teachers to teach students who learn wind instruments, experiences that contribute to teach students learning wind instruments, and how non-specialized teaching impacts student outcomes.

Six string-trained music educators who taught students learning to play wind instruments in California were interviewed from December 1–December 10, 2017. Despite these teachers having limited knowledge at the outset, they found teaching students learning wind instruments satisfying as they increased their own knowledge in this area. Some activities for increasing competence in teaching winds included: collaborating with colleagues, attending conferences, and referring to instrument-specific collegiate course content. Additionally, these teachers indicated that non-specialized teaching did not negatively influence student outcomes.

APA, Harvard, Vancouver, ISO, and other styles
11

Majeed, Alan. "Middle Eastern Violin Method : A Method for Teaching and Transcribing Middle Eastern Music." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3055.

Full text
Abstract:
My project is first and foremost about developing a pedagogical method for teaching Middle Eastern folk and classical music on the violin. As a secondary goal, I want to know if my own playing could benefit from applying such a method and become more skilled in expressing myself artistically on my instrument.  In order to achieve this, first, I have transcribed and notated music from different music styles of the Middle East, including Kurdish, Persian, Arabic and Turkish music and described the specific traits of these different styles. Then, I have created a method of how to represent different stylistically important elements in the music, e.g. the most popular ornaments used in this music, as well as finding new ways of representing them by new symbols. Finally, I have devised exercises for learning and perfecting these style elements, such as ornaments.           There is no well-established method for teaching the Middle Eastern styles of violin playing (Eilenberg, 1993). This fact makes it challenging for students to learn and pass on the tradition. Unlike Western Classical music, Middle Eastern music involves using different modal systems, including scales with quarter tones. The modes and corresponding scales are called Maqam and there are a great many of them. (Todorov, 2018)A violinist playing this style of music, usually uses intricate ornamentations in playing on these scales when making an extemporization or improvisation on the maqam, called Taksim. Not having a method for this complicated music style, makes a new learner to rely solely on learning by ear and learn through imitation, which is today often performed by listening to recorded sources. In my personal experience, it took many years of careful listening and imitating to learn how to play Middle Eastern music on the violin.          As an accomplished violinist and teacher, now I want to establish and develop my method so students can take advantage of it and learn this music more thoroughly, faster and become more accomplished in expressing themselves within the style. My hope is that this method will help preserve the Middle Eastern style of violin playing and make it easier to pass on to the next generations. Furthermore, the method will also help an interested foreigner to understand and potentially learn Middle Eastern music on the violin. Thus, my research interest is to investigate in what way I can describe, notate the pertinent stylistic elements of the music for to develop a ‘Method for oriental violin playing’, including notations, exercises, and teaching process, that can make a musician understand the Middle Eastern music styles and learn to play them. The ultimate aim is to pass the tradition easier and faster, giving aspiring violinists possibility to develop their violin playing within this field. Hopefully, from notating and transcribing these styles the tradition can be preserved. A specific question is also to investigate the usefulness of the method for groups of violins.   Secondary research interest is to investigate how this work might influence the development of my own playing, in terms of technique and expressing.    Summary of research questions:    -              How can I describe and notate the Middle Eastern violin styles with details? -              What are the most important stylistic elements and techniques?  -              How can I teach this music? -              How can I pass on the tradition faster and easier with the help of a method in a way that develops the field of Middle Eastern violin styles? -              Can I develop my own playing and artistic skills by applying exercises for stylistic features?

Samai Hijaz                                       Göksel Baktagir (Turkish) Bogazici                                            Baki Kemanci (Turkish)

Alan Kamil – Violin 

Feras Sharstan – Kanun

Saman Taha – Piano

Mårten Hillbom – Raqq and Cajon 

 

Swedish folk music meets Kurdish folk music!    (Kurdish and Swedish)

Alan Kamil – Violin 

Tommy Lundberg – Violin 

 

Pirozbe                                          Nasir Razazi’s Song (Kurdish)

              Violins:

Alan Kamil

Tommy Lundberg 

Anna Ekborg

Sandra Arvman

Nichelle Johansson

 

Saman Taha – Piano 

Mårten Hillbom – Cajon

 

Swan Lake                                        Mojtaba Mirzadeh (Persian) Soran Badinan                                  Dilshad Said (Kurdish)

Alan Kamil – Violin 

Saman Taha – Piano 

 

Nassam Aleyna el Hawa                 Rahbani Brothers – Fairouz (Arabic)

Alan Kamil – Violin 

Feras Sharstan – Kanun

Saman Taha – Piano

Mårten Hillbom – Darbuka 

 

Eshveh                                              Bijan Mortazavi (Persian)

Alan Kamil – Violin 

Saman Taha – Piano 

APA, Harvard, Vancouver, ISO, and other styles
12

Pardàs, Lluïsa. "Constructivism and Collaborative Learning in Music Teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34619.

Full text
Abstract:
The lessons from Catalonia and Sweden, based in instrumental or vocal music performance, are analysed taking into account the respective teachers’ goals and practices. The implications of the two different methodologies used, top-down big ensemble and collaborative small groups, and their relationship to constructivist pedagogies are discussed.
APA, Harvard, Vancouver, ISO, and other styles
13

Bidgood, Lee. "Integrating Teaching: Music, Appalachian Studies, and Sustainability." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1083.

Full text
Abstract:
Ideas and practices related to sustainability have become more common in academia since the foundation of the Association for the Advancement of Sustainability in Higher Education network and the growing currency of all things "green" in the business, structure, and daily life of higher education. In discussing elements of sustainability that I have incorporated into a course entitled "Ethnomusicology and Appalachia," I show how they are not part of a trend, but are foundational and transformative parts of both Appalachian studies and the study of people making music. Ethnomusicology is based in ideas of “music as culture” and as the study of musical activity, not idealized and autonomous “musical objects” (per Rice). Considering sustainability challenges notions of autonomy, which is crucial to understanding Appalachia's fluid tension (as described by Filene) between "insider" roots and "outsider" pressures. Essential scholarship on regional music-making by Jeff Titon is a model of this kind of integration, both in terms of compassionate and broad consideration of “musical sound” and in the socioaesthetic (per Kisliuk) ramifications of his conclusions. I will conclude my presentation by leading participants on an abbreviated soundwalk (per Westerkamp and Ferrington) to emphasize the importance of integrated and humane consideration in the study of music and Appalachia
APA, Harvard, Vancouver, ISO, and other styles
14

Chan, Edmund Sze Shing. "Music teachers' concern of inclusive music teaching scale: development, validation and correlates." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/308.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
15

Perkins, Emily Good. "In Search of Culturally Sustaining Music Pedagogy| Adolescent Music Students' Perceptions of Singing and Music Teaching." Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816933.

Full text
Abstract:

The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical bel canto vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical traditions. Because music plays an important role in adolescents’ identity formation, teachers who are unprepared to recognize and teach diverse vocal styles may unknowingly alienate or silence their students.

The purpose of this study was to develop an understanding of how two groups of music students, in early adolescence, and from a diverse urban public school, perceive the singing and the music teaching in their general music classrooms. By discovering their perspectives, I hoped to shed light on the ways in which music teaching influenced their musical, vocal, and cultural identities, particularly during the malleable time of adolescence.

Over the course of three months, I conducted semi-structured interviews with 14 students and two teachers as well as twice-weekly classroom observations. Three research questions informed the data collection process: (1) How do students in a diverse urban public school describe their own singing and musical background? (2) How do they describe the vocal (and music) teaching in their general music class? (3) How do they describe an effective or ideal music teacher?

The interview data and field notes from the observations were coded, organized, and analyzed into the following categories: (1) Music and Self Expression; (2) Music and Family; (3) Culturally Congruent and Incongruent Teaching; (4) Student Vocal Profiles; (5) If They Could Teach the Music Class, How Would They Teach? The overarching conclusion from this study is that the congruence or incongruence of a teacher’s musical epistemology — “the norms, logic, values, and way of knowing” music (Domínguez, 2017, p. 233) — along with the musical epistemologies of her students was the primary factor for student exclusion or empowerment in the classroom.

APA, Harvard, Vancouver, ISO, and other styles
16

Gendrich, Julia M. "Teaching and learning jazz trombone." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054757697.

Full text
Abstract:
Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains x, 182 p. Includes bibliographical references (p. 174-182). Available online via OhioLINK's ETD Center
APA, Harvard, Vancouver, ISO, and other styles
17

Gray, Megan. "Teaching music entrepreneurship in the chamber music classroom: a cross-disciplinary curricular framework." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5763.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

Hedström, Daniel. "Kulturskoleundervisning på skoltid : Om kulturskolornas närvaro i den obligatoriska skolan." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3425.

Full text
Abstract:
This essay is about the municipal music and culture schools’ teaching of students during their ordinary school day in elementary schools. There is a debate going on concerning if it is according to the law or not when students leave their class to get instrumental or song lessons. The music and culture schools has been teaching students in their ordinary schooldays since a long time in Sweden and my intention is to examine the attitudes for or against music teaching in ordinary schooldays. For this purpose, I choose to interview principals and teachers from elementary schools in different parts of Sweden. There are differences between the schools in my examination according to size and if they are situated in a city or in the countryside. Common to all the choosen schools is that they all have students leaving their scheduled school day for instrumental or song lessons. The result of this examine is not clear but shows differences between the schools concerning the principals’ and teachers’ attitudes for or against music lessons during the school day. A tendency I notice is that the principals and teachers in countryside schools are more positive than those in the city schools. The result does not show a generalized image of attitudes when my selection is too small but shows an image of each of the principals and teachers’ attitudes about music and culture school teaching. At the end I am discussing the uncertainty that is present in the schools about how to relate to culture schools’ teaching of students during their ordinary school day. From the government and the inspecting authority, the frames are conflicting with each other and causes this uncertainty in how to act.
Uppsatsen handlar om de kommunala musik- och kulturskolornas undervisning av elever under ordinarie skoldag i grundskolan. Skolinspektionen utfärdar ett vite om 500 000 kronor i juni 2019 gentemot Gislaveds kommun eftersom musikskolan där undervisar under skoltid. Elever som går ifrån ordinarie undervisning riskerar att inte nå målen i skolan menar Skolinspektionen och att sådan frånvaro strider mot skollagen. Musik- och kulturskolorna har under lång tid undervisat vissa elever under deras ordinarie skoldag och för att ta reda på attityderna för eller emot detta har jag valt att intervjua rektorer och lärare i grundskolan. Skolorna som blir föremål för mina intervjuer ligger i olika delar av landet och uppvisar skillnader i storlek och om de ligger i tätort eller på landsbygden. Alla skolorna har det gemensamt att de har elever som går till sin kulturskolelektion på skoltid. Syftet är att undersöka hur grundskolans rektorer och lärare ser på kulturskolornas närvaro under skoldagen, och om hur de ställer sig till att elever går till sina kulturskolelektioner under ordinarie skoltid. Resultatet av undersökningen är inte entydigt utan visar på en splittring mellan skolorna i hur rektorer och lärare ser på kulturskolornas undervisning under skoldagen. Tendensen är att man i glesbygdsskolor är mer positiv och i tätort mer negativ till kulturskoleundervisning på skoltid. Arbetet ger ingen generell bild av attityder eftersom urvalet är för litet men det ger en bild av de enskilda rektorernas och lärarnas attityder till kulturskoleundervisning på skoltid. I diskussionen diskuterar jag den osäkerhet som råder kring hur man i skolan kan förhålla sig till kulturskoleundervisning på skoltid. Ramarna för hur skolorna kan agera är motstridiga med regering och inspekterande myndighet som resonerar olika i frågan.
APA, Harvard, Vancouver, ISO, and other styles
19

Polydorou, Nikoletta. "Exploring approaches to teaching music history at university." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/exploring-approaches-to-teaching-music-history-at-university(0a7d95fa-5623-421d-a890-b2fd16bce397).html.

Full text
Abstract:
Music history is a core requirement for most undergraduate music degrees. The purpose of this study is to investigate the status of music history teaching in music degrees in Higher Education (HE) in four different countries (Cyprus, the Czech Republic, Greece and England). It also aims to evaluate a new music history teaching model that was developed for a university in Cyprus. The new model consists of approaches focused on a student-centred learning method that introduces the use of primary sources and cooperative learning. Three studies were conducted: a qualitative study (Study 1), a mixed methods study (Study 2) and a qualitative evaluation study (Study 3). In Study 1, music history teachers (N=6) were recruited from universities in Cyprus. Study 1 employed Interpretative Phenomenological Analysis (IPA) using the data from semi-structured interviews. In Study 2, music history teachers (N=11) were recruited from the Czech Republic, Greece and England to participate in a qualitative study, and their thinking was compared to a further sample of undergraduate music students (N=86) who were recruited from the Czech Republic, Greece and England. Study 3 designed and tested an intervention in Cyprus evaluating a new approach to teaching music history. The study was evaluated through a pre-test and a post-test questionnaire. Engeström’s culturalhistorical activity theory was used to analyse the findings of all three studies. Results revealed that the most frequent teaching approaches used in music history courses are lectures, the use of audio and audiovisual materials and discussion. While teachers from the Czech Republic, Greece and Cyprus use a teacher-centred learning approach, most teachers from England apply student-centred learning approaches to music history courses. Students from the participating countries generally perceive music history as having relatively little value and they are not satisfied with the existing teaching approaches. A number of them further question traditional approaches to teaching music history. Upon completion of the qualitative evaluation study in Cyprus, students gained a more positive opinion of music history and approved of the new teaching approaches that were used.
APA, Harvard, Vancouver, ISO, and other styles
20

Ferrer, Damian Llopis. "Technology support for teaching music to kindergarten children." Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509681.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Beebe, Marla. "Teaching and Rehearsal Behaviors of Instrumental Music Teachers." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1181923968.

Full text
APA, Harvard, Vancouver, ISO, and other styles
22

Goodman, Jerry Lee. "Perceived music and music-teaching competencies of classroom teachers in the state of Ohio." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302725455.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.

Full text
APA, Harvard, Vancouver, ISO, and other styles
24

Narunsky, Michael Dan. "Teaching jazz harmony through an understanding of bebop." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8150.

Full text
Abstract:
Includes abstract.
Includes bibliographical references (leaves 59-63).
The approach used to explain functional harmony in this thesis, combines the two views on harmony, horizontal and vertical. In this respect, it is an attempt to bridge the two worlds, classical and jazz. Pedagogy in these disciplines has been advancing as two parallel lines that would seemingly never meet. Prejudices on both sides, fuelled by ignorance, have led musicians to view classical music as 'serious' and jazz as being a form of 'light' music. This has an obvious negative effect on any attempt to bring about some coherent educational programme that will address the common aspects shared by these two musical worlds. This theis will address concepts in classical harmony and show how these can be used for the understanding of jazz harmony. The syle in jazz know as 'bepop' will be the focus of this study since it can be looked upon as the 'Baroque era' of jazz.
APA, Harvard, Vancouver, ISO, and other styles
25

Morgan, Christopher. "Instrumental music teaching and learning : a life history approach." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284626.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

Larsen, Satyapan Adrienne M. "Teaching Music Composition| Perspective from a Third-Grade Teacher." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978011.

Full text
Abstract:

The purpose of this study is to chronicle the experiences of an elementary music educator incorporating composition and improvisation activities into her elementary general music curriculum. I interviewed a primary music specialist with the purpose of discovering her background in teaching music. The questions focused on the teacher’s experience with music composition. After this interview, I observed the teacher in a third-grade general music composition lesson. I documented how the teacher approached the lesson and any steps she took to adapt the lesson to the needs of their students and her teaching style.

After the observation, I interviewed the teacher again to record her reactions to teaching the lesson. After coding the transcripts of the interviews and observation, four themes developed from the data: Personal Initiative, Teacher Reassurance, Student Engagement, and Teacher Improvement. The participant involved in this study received training in improvisation and reported that it had a positive effect on not only how she taught composition and improvisation, but also how comfortable she felt while teaching. As the training this teacher received was not through her teacher training program, her case may be unusual among experienced music teachers. Although this teacher was successful in teaching composition, her positive reactions to professional development indicate a desire for more training among in-service music education specialists. This study supports the idea that there is a need for more pre-service and in-service teacher training in how to teach younger students to compose.

APA, Harvard, Vancouver, ISO, and other styles
27

Roche, Catherine Mary. "A philosophically based praxis for teaching symphonic music literature." Scholarly Commons, 2003. https://scholarlycommons.pacific.edu/uop_etds/2605.

Full text
Abstract:
This study is directed to an awareness of and exploration concerning the wealth of the cultural heritage that the modern world possesses in the great body of symphonic music literature. A survey of musical education in this field showed a neglect of the subject compared to time and attention given to skills, theory, and performance. Practices are based on random individual philosophies for the most part. The author has pursued the development of techniques for teaching symphonic literature for several years, always questioning the educational philosophy that was best suited to this teaching, and searching for a pedagogy based on the best philosophy discernible. The emerging aesthetic philosophy of the 1960's showed fresh promise of investigation into theory and method. The work of Stephen Pepper who formulated four World Hypotheses was used as a pivot to evaluate the hypothesis that best suited the project at hand. Pepper chose a theory termed Contextualism exemplified by the theory of John Dewey presented in his Art as Experience (1980). This philosophy of experience was in line with the emerging phenomenological thought. Kaelin, keenly interested in education, in his extensive writings has given an account of aesthetic theory based on existential phenomenology. These theories were applied to music education, and methodological considerations were treated gathered from followers of Dewey, Champlin, Villemain, and Ecker. An outline was made of the contextualist/experimentalist proposition for art education, and Kaelin's description of aesthetic education was presented. Philosophies of music and music education were examined. Schwadron and Reimer laid the foundations for an aesthetic music education but by the 1990s the field was expanding rapidly. The analysis of philosophies with regard to music knowledge by Stubley in the Handbook of Research on Music Teaching and Learning (1992) was used as a base to examine emerging bodies of thought. She favored phenomenological perspectives of constructivist theories. Ingarden's theory of the musical work and the process of appreciation were examined along with several other phenomenological points of view. Kaelin's application of the theory he termed “Aesthetics Proper” to music, its temporality, and the funding of significance through apprehension of the qualities of a work, were adopted for application to a praxis. A method using time-contour charts constructed from musical scores, created by the author, was presented, with a description of the procedure, the role of the teacher, the nature of the experience of music, as well as cognitive and expressive characteristics of the process. Two examples, the first movement of Mozart's Symphony #40, and two selections from Holst's, The Planets , were used with lesson plans and the constructed time-contour charts for each. These were analyzed for cognitive and expressive characteristics, with ideas for discussion and evaluation. An extensive list of reference and source materials was included.
APA, Harvard, Vancouver, ISO, and other styles
28

Lima, MarlÃcia Chagas de. "The music teaching ways in Fortaleza: Contributions of PIBID." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16090.

Full text
Abstract:
CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
This study aims to analyze, from the perspective of graduate students in Music and Pedagogy, the interaction established between music and pedagogy through the Institutional Program of Scholarship Initiation to Docencia (PIBID) during the period from 2010 to 2012. The subjects are graduate students in Music and Pedagogy from the Federal University of Cearà who worked as fellows by the PIBID, a federal program to encourage teacher training and aimed at the improvement of teacher education for Basic Education and the improvement of quality of Brazilian public education. Through this study about de work developed by the PIBID fellows in three schools of the Public Education System of Fortaleza, we realized that the musical practices are presented as a potentially favorable factor for social change groups and individuals. In this study we discussed what permeates the implementation of music education content in school life, through the joint action of Music and pedagogy fellows and we reflect about the shared learning (MATOS, 2014) that occurred at school between those participating students in the Program. Our methodological approach is qualitative and is configured as a case study (CRESSWELL, 2010) and our theoretical approach is grounded in Vygotsky (2007), Koellreutter (1997), Freire (2013), Moraes (1993, 2007) and Morin (2000).
O presente trabalho pretende analisar, na perspectiva dos licenciandos de MÃsica e Pedagogia, a interaÃÃo estabelecida entre MÃsica e Pedagogia por meio do Programa Institucional de Bolsa de IniciaÃÃo à DocÃncia (PIBID), durante o perÃodo de 2010 à 2012. Os sujeitos participantes sÃo estudantes aos cursos de Licenciatura em MÃsica e Pedagogia da Universidade Federal do Cearà (UFC) que atuaram, como bolsistas, junto ao PIBID, um Programa Federal de incentivo à formaÃÃo docente e cujo objetivo à o aperfeiÃoamento da formaÃÃo de professores para a EducaÃÃo BÃsica e a melhoria de qualidade da educaÃÃo pÃblica brasileira. Estudando o trabalho desenvolvido pelos bolsistas do PIBID em trÃs escolas do Sistema PÃblico Municipal de Ensino de Fortaleza, percebemos que prÃticas musicais se apresentam como um fator potencialmente favorÃvel para a transformaÃÃo social dos grupos e de indivÃduos. Neste trabalho discutimos que permeiam a implementaÃÃo dos conteÃdos de EducaÃÃo Musical no cotidiano escolar, atravÃs da aÃÃo conjunta de bolsistas de MÃsica e Pedagogia e refletimos sobre as aprendizagens compartilhadas (MATOS, 2014), ocorridas no ambiente escolar entre os referidos estudantes participantes do Programa. Nossa abordagem metodolÃgica à de carÃter qualitativo e configura-se como um estudo de caso (CRESWELL, 2010) e nosso aporte teÃrico alicerÃa-se em (VIGOTSKY, 2007), (KOELLREUTTER, 1997), (FREIRE, 2013), (MORAES, 1993, 2007) e (MORIN, 2000).
APA, Harvard, Vancouver, ISO, and other styles
29

Oellermann, Esmari. "Exploring the use of music in Foundation Phase teaching." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/80498.

Full text
Abstract:
As the educational landscape changes and educational practices evolve, generalist teachers need to adapt in order to provide effective MusEd. MusEd in South African primary schools forms part of the subject life skills in the Curriculum Assessment Policy Statements (CAPS) prescribed for primary schools in South Africa. Unfortunately, Few MusEd is still treated as a filler subject and not given priority in most Foundation Phase curricula. schools can afford a music specialist teacher and therefore, MusEd is mostly taught by generalist teachers who lack the required knowledge, skills, and confidence. However, music forms part of how young learners play and engage with music in their daily lives. Although few schools are privileged to have a dedicated music specialist teacher, this study investigates how music specialists and generalist teachers teach and integrate music into their teaching and learning processes. The study achieved this aim by observing all musical encounters in the Foundation Phase. These include the presentation of formal MusEd lessons, the integration of music into core subjects in the general classrooms, the use of music to embrace multiculturalism, and employing music for other purposes such as religious and cultural celebrations within the school community. The observations were followed by interviews to obtain the unique perspectives of each participant as to how they use music in their classrooms. The study found that each school has a different need for music, partly based on its belief system. The perceived need determines many decisions about the role and place of music within the curriculum followed at the school. At one of the participating schools, music, as a form of play, is an essential tool for developing learners holistically and forms part of the school’s whole-brain development philosophy. At another school, music forms the bridge between an immigrant group of learners and a Western school structure. Some schools value the therapeutic use of music and incorporate background music to create positive and pleasant classroom environments conducive to learning. At yet another school, music is used to teach historical, religious, and cultural concepts to young learners. Recommendations for further study include investigations on how technology can assist generalist teachers to provide effective MusEd in an evolving educational landscape within the multicultural classrooms of South Africa.
Dissertation (MEd)--University of Pretoria 2020.
Humanities Education
MEd
Unrestricted
APA, Harvard, Vancouver, ISO, and other styles
30

Harman-Bishop, Caroline Marguerite. "Aristotelian virtue and teaching and learning in music performance." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9009/.

Full text
Abstract:
This study investigates the significance of Aristotelian virtue in teaching and learning in music performance. In response to a number of critical issues in professional practice, it is argued that virtue, framed within eudaimonistic happiness, should form an integral part of teaching and learning. Through an examination of Aristotle’s analysis of virtue, and primarily through his Nicomachean Ethics, virtue is presented as having the hallmarks of dynamic and responsive action and therefore as being of potential interest to teachers of music. Having acknowledged that music performance can be a particularly challenging arena, this study also considers why Aristotle, via his analysis in Politics of the reasons for educating students in music, provides further underlying reasons for its inclusion. By considering the work of one of his students, Aristoxenus, the investigation also establishes that here in Aristotle is a philosopher-teacher who is, we can be reassured, very much an informed music ‘amateur’. Noting the twofold importance that Aristotle gives to music in education, that is, how music contributes to our development and the worthwhile nature of understanding music for itself, the discussion explores and clarifies the notion of music performance. A range of frameworks are analysed and, after Godlovitch, personalism is defended as a framework. This is significant because personalism recognises the individual as both musician and human being. Thus, the demands, on both character and intellect, emerge strongly here as they do in Nicomachean Ethics. Having established that music performance is demanding, of both character and intellect, the virtue of courage is argued as crucial. The Aristotelian notion of courage is tested and its reaches extended, partly through the analysis of case studies. Ultimately, it is posited that courageous action forms part of eudaimonistic happiness. This study also considers Egan’s theory that intellectual disturbance occurs during stages of learning, thus providing further demands. It is argued that, in responding to such disturbance, teachers’ practice should embody characteristics of Aristotelian practical wisdom. In this way, it is posited that teachers act as valuable role models, both to their students and to their colleagues, including those colleagues new to the profession. With these challenges now identified and analysed, music performance is conceptualised as gift making. Importantly, this contributes to foregrounding the significant aspect of pleasure that is integral to Aristotelian virtuous action. The discussion closes by providing a defence of the position that Aristotelian virtue is of significance to teachers and students as they navigate their daily existence within the world of music performance.
APA, Harvard, Vancouver, ISO, and other styles
31

Ang, Kathryn. "Teaching Western classical piano music effectively in West Malaysia." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41371.

Full text
Abstract:
The existing curriculum for piano lessons in West Malaysia is over-reliant on the syllabi of foreign examination boards resulting in a fragmentary curriculum which denies the student access to a wider range of musical experiences. The aim of the study was to identify and suggest solutions to problems by analysing the teaching approaches of piano teachers and to determine if there are elements which are lacking in the lessons. It also aimed to provide solutions by establishing a theoretical framework for effective piano teaching with optimal lesson plans. This study made use of mixed methods research design. A cross-sectional survey was conducted and data collection was by self-structured questionnaires. In addition, interviews were conducted for the qualitative component of this study. Twenty-five piano teachers with between one to twenty years of teaching experience were randomly selected to participate in the survey. A further fifteen interviews were conducted with teachers who were selected from the participants of the survey by purposive sampling. Interpretative phenomenology analysis was used to analyse the interviews in an effort to gain a better understanding of the nature and quality of the piano teaching in West Malaysia. The study finds that having piano examinations with regularity, usually on a yearly basis, has largely dominated the curriculum with examination requirements and has resulted in several elements being missing or absent in a typical lesson. Hence the situation is clearly not ideal as lessons are too examination oriented. Furthermore, students are generally not exposed to sufficient opportunities to display their skills and musical achievements. These findings suggest that Western classical piano music can be taught more effectively in West Malaysia if teachers re-think their approach to teaching in terms of planning for an optimal lesson. This would involve having both long-term and short–term goals in which a variety of strategies and important elements are incorporated seamlessly using the “simultaneous learning” approach advocated by Harris, Crozier and Ley.
Dissertation (MMus)--University of Pretoria, 2013.
gm2014
Music
unrestricted
APA, Harvard, Vancouver, ISO, and other styles
32

Heald, Jody. "Pedagogical relationships: A master-apprentice model in music teaching." Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/77385.

Full text
Abstract:
The thesis entitled Pedagogical Relationships: A master-apprentice model in music teaching is a pedagogical and phenomenological inquiry into the lived experience of the master-apprentice model of piano teaching in a private studio. It surveys the history of the instrument, its literature, its pedagogy and the importance of genealogy in this mentor-protégé relationship. Using narratives, interviews, audio-visual links, illustrations, musical score illustrations and literary references, the thesis illuminates authentic lived experiences of both teacher and student.
APA, Harvard, Vancouver, ISO, and other styles
33

Veneskey, John E. "Catalysts for Success: Beliefs of Effective Teaching Among Members of the Music Student Teaching Triad." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1400166440.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Stevens, Melissa A. "Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Lundin, Viktor. "Reflektioner om musikundervisning : framgångsfaktorer i skapandet av lärandemiljöer i musik." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95928.

Full text
Abstract:
The purpose of the study is to study, from a teacher's perspective, how music teachers describe how they identify success factors for good musical learning environments in music teaching as well as what teachers need to be able to implement it.. The study has a hermeneutic perspective with the hermeneutic circle as a concept. To study how music teachers reflect and reason about success factors and learning, a qualitative semistructured interview study with music teachers who work at secondary school and high school were conducted. Previous research reports on various factors that influence music education from different perspectives such as teacher education, student, music teacher and evaluation perspectives. Results show that the music teachers are satisfied with their teaching situation in many ways and at the same time they see opportunities for improvement. Improvement opportunities that can be difficult to obtain. The discussion clarifies similarities between the previous research but also differences in how the Swedish music teacher works with student focus as a priority. The discussion provides suggestions for further research on the subject where the researcher sees further research on whole and half class in music education and how students view the quality of music education within it.
APA, Harvard, Vancouver, ISO, and other styles
36

Conrad, Wendie Joyce. "Music Literacy and Sight-Singing Techniques Used by Elementary and Middle School Music Teachers." Cleveland, Ohio : Cleveland State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=csu1198290006.

Full text
Abstract:
Thesis (M.M.)--Cleveland State University, 2007.
Abstract. Title from PDF t.p. (viewed on May 8, 2008). Includes bibliographical references (p. 75-82). Available online via the OhioLINK ETD Center. Also available in print.
APA, Harvard, Vancouver, ISO, and other styles
37

Jimenez, Samantha D. "An Exploration of Teaching Music to Individuals With Autism Spectrum Disorder." Antioch University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1396908032.

Full text
APA, Harvard, Vancouver, ISO, and other styles
38

Hicks, Ann Marie. "Factors Influencing the Teaching of Instrumental Music in Rural Ohio School Districts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275443334.

Full text
APA, Harvard, Vancouver, ISO, and other styles
39

Murphy, Christopher Lawrence. "Mindfulness and Metacognition: A Guide to Implementing Beneficial Mental Habits in Music Teaching." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1597763886069871.

Full text
APA, Harvard, Vancouver, ISO, and other styles
40

Furiani, Dominic Michael. "Informal Teaching and Learning Practices in a Traditional Jazz Ensemble| A Case Study." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978203.

Full text
Abstract:

Non-traditional music ensembles have emerged in public school classrooms as part of a larger effort to facilitate informal learning in school music. In this multi-instrumental case study, twenty-two member jazz ensemble composed of 10-12th grade students embarked on an aural learning activity. In this study, I examine the teaching and learning styles that emerged from the participants to gain a better understanding of informal learning practices and how they manifest in a formal learning environment. Data collection included twenty-two student surveys and one semi-structured interview of the participating teacher. In addition, video recordings of instruction, field notes, and in class memos were composed while observing the teacher and students. All data were coded using open and axial processes. The data are divided into two sections—the teacher’s experience which highlights teaching strategies and implementation procedures and the students’ experiences which focused on affective perception, the learning process, social/communal responses, and achievement. Findings indicate that a teacher who is implementing an aural learning activity into a large ensemble setting may adopt a different teaching style in order to create an authentic informal learning experience for the students. When authentically placing informal methods into a formal learning environment, students rely more on self- and peer-teaching, which led to heightened social and communal responses. These findings are linked to this specific aural learning activity, and future research in other settings with different activities may yield alternative results. Additional research which may include sharing of new activities, experiences and teaching strategies may benefit all teachers in blending informal and formal learning practices.

APA, Harvard, Vancouver, ISO, and other styles
41

Factora, Miriam Beltran. "A model of sequential music teaching utilising Philippine vocal materials /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19166.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
42

Hughes, D. "Teaching singing in Sydney government schools." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/36654.

Full text
Abstract:
Thesis (Ph.D) -- University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfillment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
APA, Harvard, Vancouver, ISO, and other styles
43

Butler, Abigail. "The relationship among preservice music education teachers' conceptions of teaching effectiveness, microteaching experiences, and teaching performance." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/289016.

Full text
Abstract:
Fifteen undergraduate music education majors enrolled in an introductory music education course at a major university in the Southwestern United States participated in this study. Students constructed concept maps on the topic teacher effectiveness as a measure of their cognitive schemata. They completed two microteaching lessons in two different settings which were videotaped and subsequently analyzed using the Survey of Teaching Effectiveness and a time sampling procedure using criteria from teacher intensity research. Following their microteachings students constructed a second concept map on the same topic. Students were interviewed to explore the nature of their thinking about effective teaching. Quantitative analyses were conducted using data from the concept maps and both measures of teacher effectiveness. Results of a dependent t-test showed no significance difference between map scores either for total score or component scores of extensiveness and coherence. Spearman Rank Correlations were calculated between map scores and subjects' scores on both the STE and TI measures. No significant correlations were found to exist. Qualitative analyses were completed based on data from concept maps, self-evaluations, and interviews. Frequency responses by categories and data source indicated subjects' responses fell into two main areas: teacher effectiveness and skills and strategies. Within these two areas four sub-categories were targeted for further analysis: knowledge, teacher traits, delivery and instructional skills. Frequency responses for all but delivery skills were quite high. The following conclusions were drawn: (1) Preservice teachers have a clear picture of what it means to be an effective teacher. They describe an effective teacher as knowledgeable, possessing a variety of personal characteristics, and engaging in specific teacher actions. (2) Preservice teachers' cognitive structure does not change after the completion of two microteaching experiences. There is some indication that changes in the content of their thinking arise following their microteachings. (3) There is no relationship between preservice teachers' cognitive structure and their ability to demonstrate effective teaching behaviors. However, qualitative analyses suggest a possible connection between the content of their thinking and their ability to teach effectively. Implications for education and future research are discussed.
APA, Harvard, Vancouver, ISO, and other styles
44

Schindler, Margaret. "The Performer as Classical Voice Teacher: Evauating the Role of the Performer-Teacher and its Impact on the Student Learning Experience." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/365730.

Full text
Abstract:
This study seeks to identify the ways in which performer/teachers influence student learning in one-to-one teaching of classical voice. The dual career of performer and teacher remains the predominant pedagogical model for classical voice training at conservatoire level, both in Australia and most other parts of the world. Yet, the nature of this reality and its implications for student learning and institutional culture have received only passing reference in the literature until recently, and classical voice is routinely omitted in international studies on aspects of one-to-one teaching at tertiary level, which tend to focus on instrumental music. Very little research has been conducted into the ways in which singers utilise their specific reservoir of experiences and knowledge while training the performers of the future. This study explores the contribution and impact of voice performer/teachers on the student learning experience, combining an overview of literature relevant to the subject with in-depth interviews with leading voice pedagogues, student group discussions, and auto-ethnographic material regarding my own musical history and teaching practice, integrated into the thesis submission as video selections (appendix 8). In doing so, it seeks to identify ways in which the performer’s experience informs pedagogical content and approach, and perceptions of both negative and positive effects that the performer/teacher can have on student learning.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text
APA, Harvard, Vancouver, ISO, and other styles
45

Sisley, Beth Ann. "A Comparative Study of Approaches to Teaching Melodic Dictation." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216237008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Sun, Derjen Jeney. "Teaching young children compositional concepts to enhance music learning in a computer learning environment." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244216827.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Cremata, Radio. "The effects of rote and note teaching on the performance of high school chorus." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/2486.

Full text
Abstract:
The purpose of this research is to compare the effects two different teaching techniques-rote and note--have upon high school chorus. Rote instruction involves teaching students who do not have music in front of them. Note instruction involves teaching students who do have music in front of them. The methodology counterbalanced two different high school choirs. Rote and note taught groups were taught four of the same 3-part SAB chorale settings type music. Two recordings were made of each song for each group - once after 30 minutes of instruction and second 24 hours later to test retention. Recordings were randomized and mastered onto CD and given to experts for evaluation. Across the board results were that rote taught groups scored higher than note taught groups on intonation, note accuracy and rhythm. This research does not recommend doing away entirely with note instruction. Rather, this research gives credence to rote as a valid music learning technique, often misunderstood because of the conflicting reports found in the professional literature.
APA, Harvard, Vancouver, ISO, and other styles
48

Karlsson, Jessika. "A Novel Approach to Teaching Emotional Expression in Music Performance." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017628597&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

Full text
APA, Harvard, Vancouver, ISO, and other styles
49

Altun, Zuhal Dinç. "Exploring teaching strategies of Turkish primary teachers in music education." Thesis, University of Leicester, 2005. http://hdl.handle.net/2381/30883.

Full text
Abstract:
Contemporary literature suggests that there is a growing body of research in music education, however, research on the teaching processes and effective teaching strategies of primary teachers in teaching music is highly limited and highlights the need for qualitative research in the pedagogy of music. Thus, with reference to music as one of the foundation subjects of the Turkish primary curriculum, this study aims to investigate primary teachers' teaching strategies in Turkish primary classrooms. In the study the 'qualitative' research approach was adopted in order to fulfil the aims and objectives of the study. The study was carried out in two state primary schools in Turkey. A total of six primary school teachers with different educational backgrounds participated in the study. As one of the research instruments, a semi-structured interview schedule was prepared and participant teachers were interviewed regarding their perceptions about music education and experiences in the classrooms. As a second means of data collection, classroom observation was used as an instrument. Each teacher was observed during their music lessons for a period of two hours (two lessons). The analysis of the qualitative data suggests that there are ranges of factors influencing teachers' music teaching activities in negative ways in classrooms. Negative factors influencing the classroom were found to come from the students, curriculum, lack of teacher competencies, inadequate facilities and resources for music education, limited support from parents, and the negative effects of audiovisual media. Data obtained from classroom observations reveal that although teachers employ a range of teaching strategies in music lessons, there is limited variety in the type of strategies used. In all the music classes similar practices could be seen. The findings suggest that in the field of music education teachers need more support in improving their pedagogical skills in teaching music as well as their technical skills in the subject. It is suggested that due to the lack of confidence and competence of primary teachers, music specialist teachers should be assigned to the task of delivering music curriculum. In addition, it is recommended that education faculties should take a more active role in training teachers, and more in-service training activities should be provided for teacher development in music education.
APA, Harvard, Vancouver, ISO, and other styles
50

Posegate, Stephen C. 1954. "Changes in interns and cooperating teachers during music student teaching." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10341.

Full text
Abstract:
xiv, 143 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This descriptive study collected both qualitative data and quantitative data to gain an increased understanding of changes in interns and cooperating teachers during student teaching in music. Five dyads consisting of an intern and a cooperating teacher participated. I gathered quantitative data through analysis of 20 videotaped teaching episodes: one of each intern and cooperating teacher at the beginning and near the end of each placement. Two recognized experts in music student teaching viewed the episodes in randomized order. The experts scored the episodes on 30 items using the Survey of Teaching Effectiveness (STE). The experts also gave an overall rating of each lesson's quality. Additionally, I tallied statements of reinforcement as either specific or nonspecific and as either statements of approval or disapproval . An additional category was found during analysis: nonfunctional communication . I gathered quantitative and qualitative data with a one-page demographic survey and by individual interviews. Though the participants were unanimous in stating that the interns improved as teachers during the placement, no quantitative differences were found. Interns all experienced fulfilled expectations, effective preparation, capable application, increased professionalization, and successful induction. Cooperating teachers were agreed that their interns came into the placement prepared to be successful in student teaching.
Committee in charge: Harry Price, Chairperson, Music; Sharon Paul, Member, Music; David Doerksen, Member, Music; Roland Good, Outside Member, Special Education and Clinical Sciences
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Music teaching' for other source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography