Dissertations / Theses on the topic 'Violin Instruction and study Juvenile'
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Villaret, Amanda Louise. "The Franco-Belgian and Russian methods of bowing : a pedagogic study." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535903.
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Two important parts of violin pedadogy are left hand and right hand technique. Of these two parts, the right hand technique is eminently more complex, and causes greater frustration for the player. Bow technique Is a combination of many diverse functions in the left arm, and requires great agility and cooperation from the arm and back muscles. Because most of the expression and interpretation of the music comes through the bow, it is important that there be no obstacles confronting the player that would hinder a quality performance.How, then, is such a complicated art taught to students of the violin? In the years preceding World War II, the majority of teachers developed their own methods based on personal experience and pedagogic knowledge. Because pedadogic knowledge was often scant, personal experience was the basis of one's technique, which consisted of a system of rules designed to work for that individual. This method could be impractical when applied to others.By the twentieth century, two schools of bowing technique had been developed and proved to be the most successful in producing superior violinists. Both the Franco/Belgian andRussian methods of bowing are grounded in the Viotti tradition, which, through the past two centuries, has proven to contain the basic, fundamental principles of successful bow technique.It took a few more years to commit these methods to paper and be published, which allowed standard bowing technique to circulate beyond the few prominent music schools and conservatories. Yet, even today, many teachers are unaware of these two schools of bowing, and how they can guide both the teacher and pupil to satisfactory results when confronted with bowing problems.This dissertation presents the history of bowing technique from the first appearance of the violin to the development of Franco/Belgian and Russian bowing techniques. It compares and contrasts the two methods, and examines how the use of either bow grip will affect the execution of the bow strokes. Finally, this work analyzes the strengths and weaknesses of each method, and how one determines which method will accomplish the desired results and help each student to develop to his/her full potential by allowing for individual differences.School of Music
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Kalverboer, Kenda. "Parental involvement in private violin lessons : survey of teacher attitudes and practices." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116058.
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The primary research question of this paper examines teachers' philosophies concerning parental involvement and pedagogical practices. Specifically, what are violin teachers' attitudes and practices concerning parental involvement? Secondary research questions were formulated as a result of major topics arising from the review of literature and focused on how and why teachers formed their personal philosophies towards parental involvement. The following research is unique in that it defines the concept of parental involvement directly from the perspective of the teacher. Because anyone teacher oversees the development of many violin students, he/she is in an extraordinary position to comment on factors, conditions and behaviours across a large sample of students with differing types and degrees of parental involvement. Specifically, this study investigates factors of parental involvement that violin teachers believe to have a positive impact on student success.
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Dubach, Joyce Keith. "An encyclopedic index of commonly used etudes catalogued and organized pedagogically by technical difficulty." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1063297.
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In the study of the violin, teacher and student are involved in an on-going process of identifying, analyzing and overcoming technical and musical obstacles on the way to complete mastery of the instrument. Etudes often bridge the gap between exercises and "real music," and, as such, are extremely valuable as a step to mastering various playing skills in a musical setting. Nevertheless, without an encyclopedic memory, a teacher may find it difficult to locate appropriate etudes for an individual student with a specific technical problem.The charts from this study are designed to be used as an aid in locating and assigning etudes to students based upon their grade level and the technical difficulty they are having. The etudes selected were determined by their availability in three or more published editions to be those most commonly used.First, each etude was assigned a grade level. Next, each etude was catalogued by performance difficulty. Each performance category was carefully defined and limited. Finally, the writer determined whether the performance problem being studied was a "primary" difficulty of that etude, or whether the problem existed as a "secondary" component.After determining the technical difficulty to be studied, a violinist may consult the list of etudes addressing that particular difficulty. The list of etudes is organized from the simplest to the most difficult, and for each etude it is noted whether the problem is of primary (P) or secondary (S) importance. Finally, each etude is cross-referenced with other technical problems, and a teacher or student may make the decision whether to study the problem in isolation or in conjunction with other technical difficulties.School of Music
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Gao, Jie (Violinist). "The Influence of Chinese Instruments on the Violin: A Practice Guide of Three Violin Techniques." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011757/.
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Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.
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Prusky, Kathy Ann. "Developmental preschool music education : a proposed rationale, philosophy and 12-week curriculum for 4-year-old children." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29053.
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Numerous curricula for preschool music education have been developed in the past two decades. For the most part, however, these have not incorporated important evidence from three disciplines which has important implications for how the music education of preschool children should be approached. The first of these is the field of developmental neurobiology, which has provided relevant information concerning early learning and experience. The second is the research pioneered by Jean Piaget, whose insights into cognitive development bear heavily on curriculum planning for preschool music education. The third is research in musical development, which indicates what skills and behaviors can be expected of preschool children in a musical setting.
The goal of this thesis is to demonstrate (a) why an understanding of the major findings from these fields is important to the formulation of a music education program for preschool children; and (b) how this understanding can and should impact on the curricular choices made for the musical education of preschool children. To this extent, a series of developmental and musical objectives for the music education of preschool children, specifically 4-year-olds, have been formulated to serve as a theoretical and practical foundation on which to develop and choose musical activities which are appropriate for this age group. The educational and practical value of each of these activities was tested with a group of 4-year-old children during a 12-week study carried out at the University of British Columbia Child Study Center. The activities which adequately demonstrated this value were then organized into a 12-week music curriculum for 4-year-old children.
Four conclusions are made in this thesis. The first of these is that music education should begin early in life in order to influence the general learning patterns necessary for the development of musical skill. The second conclusion is that early exposure to music will be most effective when the activities chosen are complex and stimulating and allow for interaction with numerous musical stimuli on a variety of different levels. The third conclusion is that developmentally appropriate musical activities may make an important contribution to the enrichment of the learning environment during the preschool years and may subsequently enhance sensory, motor, verbal and nonverbal, social and creative thinking skills. Finally, it was concluded that preschool music education will be most effective when musical tasks reflect the limitations of children's cognitive development.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Madsen, Eric. "The genesis of Suzuki : an investigation of the roots of talent education." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22406.
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In its short history, Talent Education, also known as the Suzuki Method, has had a profound impact on the teaching of music to the young. However, despite continued guidance from its founder, Shinichi Suzuki, misconceptions about the method persist among both its practitioners and critics. One route to understanding of pedagogical theory is to look at its origins. To that end, this thesis makes a study of history of the method and its founder, drawing on available sources. Further investigation is carried out on the philosophy and teaching techniques. An exploration is then undertaken of the possible antecedents of Suzuki's method taking into account the prevailing ideas and practices of his cultural environment as they relate to the history, philosophy and teaching techniques of Talent Education. Findings indicate that, while Suzuki's method is clearly appropriate to contemporary society, it represents, in many of its aspects, a continuation of several beliefs and practices of traditional Japanese arts.
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Núñez, Mario Leoncio. "A Comparison of Aural and Visual Instructional Methodologies Designed to Improve the Intonation Accuracy of Seventh Grade Violin and Viola Instrumentalists." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3122/.
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The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.
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Vannatta, Terrie Lynn. "A study of the effects of self-instruction and alternate response training on oppositional behaviors." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720349.
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This study investigated the effects of self-instruction and alternate response training on oppositional behavior. Four oppositional adolescent females in a community-based residential treatment facility were taught to self-instruct alternate responses to their oppositional behaviors by participating in a series of Behavior Skills Training (BST) sessions. Subjects were required to role-play situations which subjects indicated evoke the targeted behaviors, that is, swearing/namecalling, noncompliance with rules, and noncompliance with requests. These self-reported situations were a major component in developing the BST. A multiple baseline design across behaviors was used. As an additional experimental control, two nontreatment subjects were included in the data analysis. Although trend analyses were conducted, variability in the data precluded the possibility of drawing conclusions based on statistical correlation. However, functional analyses of the treatment effects indicated that the BST was effective in reducing the oppositional behaviors of the subjects in the treatment group. Thus these results support the efficacy of using self-instruction and alternate response training procedures to reduce the occurrence of oppositional behavior in adolescent females.Department of Educational Psychology
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Lee, Angela Hao-Chun 1963. "The development of school music education in Taiwan (1895-1995)." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8696.
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Freed, Carlin Joi Lynn. "Can you think a little louder?, a classroom-based ethnography of eight and nine year olds composing with music and language." Thesis, National Library of Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq27143.pdf.
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Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.
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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task.Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.
Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.
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Edelman, Rhea. "Selected Works by Female Composers of the Nineteenth and Twentieth Centuries for Advanced Suzuki Violin Students." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011798/.
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The intent of this dissertation is to identify and analyze several pieces by female composers that are technically suitable for the specific development of an advanced Suzuki violin student studying in Suzuki books 7 or 8. The selected pieces can then be used by trained Suzuki teachers, in conjunction with the male-composer-dominated Suzuki repertoire, to enhance students' technical development while also increasing their well-rounded musicianship by exposing them to female composers. The development of off-the-string bow strokes, string crossings, shifting, left-hand articulation and musical expression will be traced through the first six volumes of the Suzuki repertoire in order to understand a Suzuki student's expected abilities pertaining to these technical elements when beginning the repertoire in books 7 and 8. Pieces by female composers highlighting and enhancing the referenced techniques will be identified and analyzed in a similar manner. These pieces will be compiled into a document for Suzuki students and teachers to use, along with appropriate editorial markings and biographies of the composers. This document can be an inspirational supplement to Suzuki students' musical development and help develop an awareness of female composers.
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Campbell, Velma-Jean. "The implications of Ned Herrmann’s whole-brain model for violin teaching : a case study." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1889.
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Thesis (MMus (Music))--University of Stellenbosch, 2008.This study is concerned with determining whether the application of Ned Herrmann’s “whole-brain” model would impact violin teaching in any way. Our educational system places great importance on what has become known as the left-brain modes, that is, reading, writing and arithmetic, to the neglect of the socalled right brain’s cognitive abilities, such as, music, art, intuition and dance. Wellintentioned, yet ill-informed teachers teach learners in ways that make learning difficult or impossible, as they are unaware of how to determine and use the preferred learning style of each learner. When a learner’s learning style is not matched with the method of instruction, the learner’s discomfort level may be so great that it not only interferes with the learning process but it could also ultimately prevent learning from taking place. The researcher, therefore, set out to determine whether the use of whole-brain development would lead to any significant changes in the learning process. For a period of two school terms, case studies using action research were conducted on five of the learners that received instruction from the researcher. The research participants were so chosen as to make the experimental group as homogenous as possible. Data was collected qualitatively by means of diaries and was presented descriptively. Every week the learners received a printed copy of the homework exercises. They recorded their feedback weekly, in their diaries. The researcher, as the teacher of the learners, made weekly observations during lessons. During this research the process of triangulation was used. This process added validity to the study as information about specific aspects was gained from three different perspectives, namely, that of the learners, the teacher and the learners’ accompanists. The accompanists gave their feedback before the start of the research and again at the end. After applying Herrmann’s model for two terms, the following became apparent: • The learners practised more, were more motivated and there was a general improvement in their attitude. • The learners felt that having received a printed copy of the exercises, a whole brain exercise in itself, had helped them to know what and how to practise. • There was a significant change in the playing of the majority of learners (three of the five). • The learners, where significant changes were not apparent in their playing, indicated that their understanding of their practising methods and playing had increased. • The learners felt that they had benefited from the experiment as they all indicated that they would like future lessons to be conducted in the same manner. In view of the positive outcome of the research, and given that this was a pilot study, the researcher suggests that similar studies using larger numbers of learners and involving a longer period of time, be conducted. The inclusion of a control group would also render the findings more conclusive. The researcher also suggests that violin teachers become knowledgeable about learning styles and whole-brain learning if they wish to reach all learners and enable them to achieve their potential.
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Ferris, Alison Jill 1949. "Classroom music in Victorian state primary schools 1934 to 1981 : curriculum support." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8472.
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Szabo, Moira. "An assessment of music teacher effectiveness : a comparison between generalists and specialists." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61772.
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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.
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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
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Ferreira, Isaías Lopes 1984. "A relevância do estudo dos excertos orquestrais na formação violinística /." São Paulo, 2016. http://hdl.handle.net/11449/143097.
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Orientador: Ricardo Lobo KubalaBanca: Emerson Luiz de Biaggi
Banca: Luiz Britto Passos Amato
Resumo: Este trabalho tem por objetivo investigar aspectos técnicos e interpretativos presentes em excertos orquestrais de violino e estudar o potencial de seu uso como ferramenta para o desenvolvimento do violinista. No primeiro capítulo, discorre-se sobre levantamento de material, em que se buscaram informações acerca de excertos orquestrais de violino, no que concerne tanto a seu uso em processos seletivos como a aspectos técnicos e estilísticos relativos a sua preparação e execução. Encontrou-se, além de material acadêmico usual - como dissertações, teses e artigos - vasta referência em sites, blogs, videoaulas e outros meios, com conteúdo substancial, divulgados na internet. São apresentados também os critérios que orientaram a escolha dos excertos investigados no capítulo seguinte. No segundo capítulo, investigam-se aspectos técnico-interpretativos significativos de cada excerto escolhido, e são feitas sugestões de possíveis abordagens interpretativas desses excertos. Por fim, no terceiro capítulo, procura-se estabelecer paralelo entre aspectos presentes no repertório tradicional do violino e nos excertos orquestrais investigados. A relação encontrada entre o material estudado no capítulo 2 e obras como sonatas e concertos - usualmente estudados por violinistas - é rica e evidencia as possibilidades de exploração dos excertos orquestrais como meio de aprendizagem do instrumento. O presente estudo é voltado para estudantes de violino em nível de graduação e, de modo mais amplo, ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This work aims to investigate technical and interpretative aspects present in orchestral violin excerpts and to study the potential of its use as a tool for the violinist's development. In the first chapter, we broached the material survey, in which information was sought about violin orchestral excerpts, with respect both to its use in orchestral auditions as well as in the technical and stylistic aspects regarding their preparation and execution. In addition to usual academic material - such as dissertations, theses and articles - it has been found extensive reference in websites, blogs, video lessons and other means, with substantial content released on the Internet. The paper also presents the criteria that guided the choice of excerpts investigated in the following chapter. In the second chapter technical and interpretative aspects of each significant excerpt chosen are scrutinized and suggestions are made for possible interpretative approaches to these excerpts. Finally, in the third chapter, we try to establish a parallel between aspects present in the traditional violin repertoire and orchestral excerpts investigated. The association between the material studied in Chapter 2 and works such as sonatas and concerts, usually studied by violinists, are rich and it highlights the exploration of possibilities of orchestral excerpts as a mean of learning the instrument. This study is aimed at violin students at the undergraduate level and, more broadly, for violinists who ar... (Complete abstract click electronic access below)
Mestre
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Van, Dyk Stephne. "Interdisciplinary and intradisciplinary music education for the foundation phase of Curriculum 2005." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51802.
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Thesis (M.Mus) -- University of Stellenbosch, 2000.Some digitised pages may appear illegible due to the condition of the original hard copy. (entire content of poor quality)
ENGLISH ABSTRACT: The foundation for this study is the belief that music is an essential part of human existence and thus of education. It not only addresses individual and communal human needs but the multicultural nature thereof gives it special significance for education in the ''New South-Africa". This significance lies in the value of music in its own right (intra disciplinary) as well as the use of music for its intrinsic qualities to facilitate the teaching of all other fields of knowledge (interdisciplinary). Recent research and new thinking in the fields of intelligence and learning support this belief. The old one-dimensional approach to intelligence is no longer tenable and has been supplanted by the acknowledgement that human intelligence is multi-faceted. Musical ability is now recognized as a separate intelligence while the use of music is regarded as being an important factor in the development and functioning of the human thought process. Research on the role played by emotions and morality as well as that on the characteristics of genius, optimal experiences and the implications of the functioning of the brain, are all explored with reference to what this means for music education (and using music in education) in this country today. The new Curriculum 2005 at present being introduced into South-Africa is an example of Outcomes-based Education. The way in which the Arts and Culture Learning Area of Curriculum 2005 approaches music education corresponds with the interdisciplinary and intra disciplinary distinction. These aspects are discussed and material is included for use in order to realise the expressed and desired outcomes for music education in the Foundation Phase. Elliott's alternative approach (music-as-practicum), instead of Reimer's traditional music curriculum making, is used as point of departure.
AFRIKAANSE OPSOMMING: Die oortuiging dat musiek 'n essensiële deel van die menslike bestaan en dus van opvoeding is, lê ten grondslag van hierdie studie. Nie alleen spreek dit individuele sowel as gemeenskaplike menslike behoeftes aan nie, maar die multikulturele aard daarvan maak dit van groot belang vir opvoeding in die "Nuwe Suid-Afrika". Die belang is daarin geleë dat opvoeding in musiek op sigself waarde het (intradissiplinêr), maar ook leer in alle ander vakgebiede kan fasiliteer (interdissiplinêr). Onlangse navorsing ten opsigte van intelligensie en opvoeding staaf hierdie siening. Die vroeëre een-dimensionele siening van menslike intelligensie is nie meer houdbaar nie en is vervang deur die erkenning dat intelligensie vele fasette het. Musikale vermoëns word tans as 'n outonome intelligensie beskou, terwyl die groot invloed van musiek op die ontwikkeling en funksionering van die menslike denkpatrone erken word. Navorsing oor die rol van die emosies, moraliteit, die kenmerke van die genie, optimale ondervindinge en die funksionering van die brein, word ondersoek met verwysing veral na die belang daarvan vir musiekopvoeding (en die gebruik van musiek in opvoeding) tans in Suid-Afrika. Die nuwe Kurrikulum 2005 wat tans in Suid-Afrika ingevoer word, is 'n voorbeeld van Uitkomsgebaseerde Onderwys. Die benadering van die Kuns en Kultuur Leerarea in die Kurrikulum 2005 tot musiekopvoeding stem ooreen met die inter- en intradissiplinêre verdeling. Hierdie aspekte word bespreek en materiaal word ingesluit vir gebruik by die nastreef van die uitdruklike en wenslike uitkomstes vir musiekopvoeding in die Grondslagfase. Elliott se alternatiewe benadering tot kurrikulering vir musiek (musiek-as-practicum), in teenstelling met Reimer se tradisionele MEAE model, word as uitgangspunt gebruik.
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Henn, Wilana. "Aanvangsonderrig in klavier : ‘n situasie-analise en riglyne vir ondergekwalifiseerde musiekonderwysers in die Suid-Afrikaanse konteks." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2997.
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Thesis (MMus (Music))--University of Stellenbosch, 2006.The piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.
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Carney, Robert D. "Using Web-Based Instruction to Teach Music Theory in the Piano Studio: Defining, Designing, and Implementing an Integrative Approach." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28404/.
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This dissertation rationalizes the best use of Web-based instruction (WBI) for teaching music theory to private piano students in the later primary grades. It uses an integrative research methodology for defining, designing, and implementing a curriculum that includes WBI. Research from the fields of music education, educational technology, educational psychology, and interaction design and children receive primary consideration. A synthesis of these sources outlines several research-based principles that instructional designers can use to design a complete blended learning environment for use within the piano studio. In addition to the research-based principles, the precise methods of determining instructional tasks and implementing the program online are described in detail. A full implementation is then deployed, and piano teachers evaluate the extent to which the online program fulfills the research-based principles. This dissertation does not argue for the complete migration of theory instruction from traditional workbook approaches to an entirely Web-based medium but rather outlines the best use of face-to-face instruction, collaboration amongst students, teachers, and parents, and interaction with a Web-based program. This formative research provides a complete model of integrating WBI within the piano studio that can guide instructional designers and music educators.
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Santos, Déborah Wanderley dos 1985. "Abordagens de ensino de violino : um panorama histórico /." São Paulo, 2018. http://hdl.handle.net/11449/180515.
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Orientador: Ricardo Lobo KubalaBanca: Emerson Luiz de Biaggi
Banca: Esdras Rodrigues
Resumo: Este trabalho apresenta um panorama histórico do desenvolvimento dos meios de ensino de violino, buscando contextualizá-los historicamente e investigá-los por meio de abordagem de caráter interdisciplinar, que procurou suporte, entre outras áreas, na ciência da expertise. Dessa forma, objetivou-se contribuir para a discussão acerca de práticas de ensino atuais. No primeiro capítulo apresentamos metodologias de dois ospedali italianos - instituições precursoras ao conservatório onde ocorria a internação e educação da juventude em situação de vulnerabilidade social. No segundo capítulo, disserta-se sobre a ascensão da música instrumental nos séculos XVI e XVII, o surgimento de uma literatura voltada uma metodização progressiva do estudo do violino e o legado de mestres do Barroco como Arcangelo Corelli e Giuseppe Tartini. Discorre-se, então, sobre aspectos pedagógicos envolvidos no sistema mestre/aprendiz. No terceiro capítulo, investiga-se o advento do Conservatório de Paris e suas consequências para o ensino musical. O quarto e último capítulo tem enfoque na produção dos séculos XX e XXI, quando pedagogos como Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian e Simon Fischer desenvolveram metodologias caracterizados por viés marcantemente analítico e cognitivista. Verificou-se, ao longo da história das práticas de ensino de violino, uma constante - e crescente - preocupação no que se relaciona à qualidade do estudo do instrumento. Concluiu-se que, independentemente da me... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This work presents a historic panorama of the development of the methods of violin study, seeking to contextualize them historically and research them through an approach of interdisciplinary character, which sought support, among other areas, in the science of expertise. Thus, the aim is to contribute to the discussion about current teaching practices. In the first chapter we present methodologies from two Italian ospedali - precursory institutions to the conservatory where the lodging and education of youth in situations of social vulnerability occurred. In the second chapter, we discuss the rise of instrumental music in the 16th and 17th centuries, the emergence of literature aimed at a progressive method of studying the violin and the legacy of Baroque masters such as Arcangelo Corelli and Giuseppe Tartini. We then discuss pedagogical aspects involved in the master/apprentice system. In the third chapter, we investigate the advent of the Paris Conservatory and its consequences for musical education. The fourth and final chapter focuses on 20th and 21st century production, when pedagogues such as Leopold Auer, Otakar Sevcik, Carl Flesh, Ivan Galamian, and Simon Fischer developed methodologies characterized by substantial analytical and cognitive perpectives. Throughout the history of violin teaching practices, there has been a constant - and growing - concern regarding the quality of the study of the instrument. It was concluded that, regardless of the methodology used, ef... (Complete abstract click electronic access below)
Mestre
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Frisina, Wendy-Cara. "Factors influencing students who continue or discontinue their music studies from year 8 to year 9: A survey of selected Western Australian secondary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1061.
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This research examined the most significant factors which influence students' decisions to continue or discontinue their music studies from Year 8 to Year 9, in selected Western Australian Secondary Schools. The research was conducted during term 4, 2000. Results from the questionnaires were analysed and interpreted to determine the most significant factors which contribute to the discontinuation or continuation of instrumental music studies. Analysis of data examined factors as to why students continued or discontinued learning music or studying an instrument. Findings indicated that students' self-concept and music ability levels strongly influence the success or failure of a student undertaking music studies. Career choice, parental influence, parental support, peer pressure, time commitment, part-time work, teacher influence, choice of music studied and the fear of failure are the main contributors for students discontinuing their instrumental studies. Through the recognition of the most common problem areas it may be possible to assist with strategies to promote the retention rate of students in music studies. This study may assist non-music teachers to appreciate problems and help them to perceive music as part of the school program.
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DeBeus, Roger J. (Roger John). "The Effects of Music Training on Electroencephalographic Coherence of Preschool Children." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278071/.
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The purpose of this study was to examine the effects of music training on electroencephalographic (EEG) coherence of preschool children. EEG coherence is a measurement of brain wave activity that reflects anatomical and neurophysiological parameters and functional connectivity between areas of the brain. Participants were 4- to 6-year-old children divided into two groups: one received music training for 20 minutes twice a week for 10 weeks while the other group served as controls. Nineteen channels of EEG data were collected from each child pre- and post-training. Data were collected from three conditions: eyes-open resting, listening to music, and performing the Object Assembly subtest of the Weschler Preschool and Primary Scale of Intelligence - Revised (1989). The hypothesis was that the music training group would show increased EEG coherence as compared to controls. The EEG data was reduced into seven bandwidths and analyzed separately for each condition. Multiple ANCOVAs were used to factor out pre-test variability and to maximize connectivity changes between the two groups. The dependent measures were the post-QEEG electrode pairs and the covariates were the pre-QEEG electrode pairs. Results indicated the eyes-open and listening to music conditions showed more significant changes between the groups than the Object Assembly condition. Overall, each condition showed increased connectivity for the music training group versus controls. The eyes-open condition differentiated children with and without music training during a resting condition, and showed similar patterns as those identified by other researchers comparing musicians versus nonmusicians. The listening to music condition identified connections including a topographical pattern of auditory analysis, increased working memory activation, increased activity between musically sensitive areas, and increased interhemispheric activity. Findings with the Object Assembly condition were not as robust as expected. However, patterns of increased connectivity associated with visuospatial processing were found with the music training group.
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Lückman, Paulo Egídio 1969. "O método de cordas duplas de Luis Soler Realp : análise e comparação com publicações afins." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284538.
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Orientador: Esdras Rodrigues SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T13:00:31Z (GMT). No. of bitstreams: 1 Luckman_PauloEgidio_M.pdf: 9209306 bytes, checksum: 05ab9ba9c61a5aac65ee16c023498b65 (MD5) Previous issue date: 2012
Resumo: O objeto de estudo deste trabalho é um método de ensino de cordas duplas escrito por Luis Soler Realp (1920-2011), violinista catalão naturalizado brasileiro. O método foi analisado e depois comparado com algumas obras referenciais que trabalham cordas duplas escritas por Sevcik, Flesch, Galamian e Sitt. À luz desta comparação, foram discutidos os méritos do trabalho de Soler, seus fundamentos, e algumas de suas idiossincrasias. Além disso, foram comentados brevemente pontos relacionados ao estudo das cordas duplas no contexto geral da formação violinística
Abstract: The objective of this paper is a double stops method developed by Luis Soler Realp (1920-2011), a Catalan naturalized Brazilian violinist. The method was analyzed and compared with several references that work with double stops written by Sevcik, Flesch, Galamian and Sitt. In the light of this comparison, the merits of Soler Realp were discussed, as well as his fundaments and some of his idiosyncrasies. Aspects related to the study of double stops within a general context of violin teaching were also briefly discussed
Mestrado
Praticas Interpretativas
Mestre em Música
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Hawkins, Cynthia Susan. "Aspects of the musical education of choristers in Church of England choir schools." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63228.
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Erasmus, Suzanne. "’n Ondersoek na twintigste-eeuse musiek vir kinders en die pedagogiese waarde daarvan vir onderrig in Suid-Afrikaanse laerskole." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80346.
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Thesis (MMus)--Stellenbosch University, 2013.ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner.
AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.
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Georgiades, Rebecca. "Mozart, Beethoven, and Tschaikovsky: Their rich heritage of music." CSUSB ScholarWorks, 1992. https://scholarworks.lib.csusb.edu/etd-project/617.
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Oliveira, Cleodiceles Branco Nogueira de. "A prática do canto coral infantil como processo de musicalização." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284386.
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Orientador: Carlos Fernando FioriniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação tem por finalidade apresentar uma proposta de musicalização infantil através de canto coral nas escolas e os benefícios que essa prática traz para a criança. Com base na pesquisa bibliográfica como referencial teórico e em parceria com o Instituto Cultural Canarinhos da Terra através de seu programa O Coral na Escola, foi realizado um trabalho onde cerca de 25 crianças de uma Escola Municipal de Ensino Básico, situada na região de Campinas tiveram a oportunidade de participar de aulas de Canto Coral ao longo do ano de 2010. Através da pesquisa de campo pode-se destacar a importância de ter uma equipe qualificada para a realização de um trabalho de coro infantil bem como os benefícios que tal prática traz para a formação da criança
Abstract: This dissertation aims to present a proposal for Music Education to children through Choral Singing in Schools, and discuss the benefits that this practice brings to the child. Based on a bibliographic research as a theoretical reference, and in partnership with Instituto Cultural Canarinhos da Terra through its program "O Coral na Escola", 25 children from the Escola Municipal de Ensino Basico, located in the region of Campinas, had the opportunity to participate in choral singing lessons throughout the year 2010. Through this research, it was possible to highlight not only the importance of having a qualified staff working with a children's choir, but also the benefits that this practice can bring to the child's education
Mestrado
Praticas Interpretativas
Mestre em Música
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Rheinboldt, Juliana Melleiro 1990. "Preparo vocal para coro infantil : análise, descrição e relato da proposta do maestro Henry Leck aplicada ao "Coral da Gente" do Instituto Baccarell." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285244.
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Orientadores: Angelo José Fernandes, Adriana do Nascimento Araújo MendesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T01:26:11Z (GMT). No. of bitstreams: 1 Rheinboldt_JulianaMelleiro_M.pdf: 59530188 bytes, checksum: 397231451c0292e604327e4d1e95519d (MD5) Previous issue date: 2014
Resumo: No Brasil, poucos materiais têm sido produzidos a respeito do preparo vocal para coros, especialmente, infantis. Visando suprir tal carência, a presente pesquisa aborda de forma ampla a proposta do maestro americano Henry Leck e relata sua aplicabilidade na realidade brasileira do "Coral da Gente" do Instituto Baccarelli, grupo regido pela autora. No primeiro capítulo, detalhamos os pressupostos pedagógicos e de preparo vocal do maestro Henry Leck, segundo o manual "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", o livro "Creating artistry through choral excellence" ¿ ambos de autoria do maestro ¿ e bibliografias vigentes sobre voz infantil, preparo vocal e pedagogia coral. No segundo capítulo, analisamos e descrevemos os aspectos musicais e técnico-vocais dos exercícios que compõem o manual e também relatamos como os vocalizes foram aplicados no decorrer da pesquisa com o "Coral da Gente" e na prática docente da pesquisadora. Os processos de aprendizagem, estratégias didáticas e adaptações da proposta feitas na pesquisa de campo, encontram-se em um DVD anexo. Por fim, refletimos sobre a relevância da proposta de Leck e como ela pode ser mais bem aproveitada em nosso país, respeitando as especificidades de nossa realidade e priorizando um preparo vocal para coro infantil que seja efetivo, consistente e artístico. Este trabalho destina-se a regentes, preparadores vocais, educadores musicais e demais interessados nos assuntos abordados
Abstract: In Brazil, few materials specifically geared towards developing vocal techniques for children¿s choirs are being produced. Aiming to fill this need, this research conducts a wide-ranging analysis of the North American director Henry Leck¿s vocal pedagogy and how it was applied within a Brazilian reality with the "Coral da Gente" of the Baccarelli Institute, where the researcher is choral director. In the first chapter, we detail the pedagogical and vocal basis of Leck¿s methodology, based on the materials "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", the book "Creating artistry through choral excellence", and other current literature about children¿s voices, vocal techniques and choral pedagogy. In the second chapter, we describe and analyze the vocal exercise techniques from Leck¿s materials musically, vocally and pedagogically and we also describe how this methodology was used with the "Coral da Gente" of the Baccarelli Institute and in the teaching practices of the researcher, highlighting the learning processes, successes and adaptations necessary. The finding results are available in the accompanying DVD. Finally, we reflect on the relevance of this proposal and how it might best be taken advantage of in Brazil, respecting the particular characteristics of local reality and practicing effective, consistent and artistic vocal techniques for children¿s choir. This research is addressed to choral directors, singing teachers and musical educators
Mestrado
Fundamentos Teoricos
Mestra em Música
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Koch-Locner, Aletta Maria. "Music for early childhood : guidelines for parents in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/19635.
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Thesis (M.Mus.)--University of Stellenbosch, 2007.ENGLISH ABSTRACT: The research for this thesis is presented in the form of a practical guideline for parents and educators in the Western Cape area. The important role of music in early childhood is emphasised throughout. Research, guidance and practical activities for the music education and development of the toddler and preschooler, are presented. The author answers and discusses the questions frequently asked by parents concerning musical education for their children, namely why, when and how, in the five chapters of the thesis. The importance of music education for children (the question concerning why) is discussed and emphasised by means of eleven different reasons supported by research. In Chapter 2, the important role of the parent as the child’s first music educator and prenatal stimulation is discussed (the question concerning when). In the two chapters that follow, the author provides parents with information about basic music concepts and skills that children should be able to master at specific ages. Throughout these chapters, practical activities to illustrate these concepts and to practise the relevant skills are suggested (the how question). Guidelines are presented concerning how play with the child should be approached and handled, as well as guidelines for the child’s first formal instrumental teaching and for choosing an instrument and a music teacher. The research is concluded with a practical section containing extensive lists of songs (in categories), CDs, DVDs, books and web addresses for the use of parents needing resources and further guidance.
AFRIKAANSE OPSOMMING: Die navorsing vir hierdie tesis word in die vorm van ‘n praktiese handleiding vir ouers en opvoeders in die Wes-Kaap provinsie aangebied. Die belangrike rol van musiek in die voorskoolse kind se lewe word deurgaans beklemtoon. Navorsing, riglyne en praktiese aktiwiteite vir die musiekopvoeding en ontwikkeling van die voorskoolse kindword, word prakties aangebied en bespreek.Die outeur beantwoord en bespreek die vernaamste vrae wat ouers ten opsigte van musiekopvoeding vir hul kinders vra, naamlik hoekom, wanneer en hoe, in die vyf hoofstukke van die tesis. Die belangrikheid van musiekopvoeding vir kinders (die hoekom vraag) word aan die hand van elf verskillende redes en wat deur navorsing ondersteun word, bespreek. Die belangrike rol van die ouer as eerste musiekopvoeder en prenatale stimulasie word in Hoofstuk 2 bespreek (die vraag aangaande wanneer). In die twee daaropvolgende hoofstukke bied die outeur verdere inligting aan ouers oor basiese musiekkonsepte en vaardighede wat kinders op sekere ouderdomme moet kan bemeester. Praktiese aktiwiteite om hierdie konsepte te illustreer en die verlangde vaardighede te oefen (die hoe vraag) word deurgaans voorgestel. Riglyne word gegee oor hoe spel met die kind benader en hanteer moet word, asook riglyne vir die kind se eerste formele instrumentale onderrig, die keuse van ‘n instrument en van ‘n musiekonderwyser. Die navorsing word afgesluit met ‘n praktiese afdeling waarin uitgebreide lyste van liedjies (volgens verskillende kategorieë), beskikbare CD-opnames, DVD-opnames, boeke en webadresse vir ouers gegee word as bronne en as verdere riglyne.
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Roos, Johanna Wilhelmina. "Violin playing : teaching freedom of movement." Diss., 2002. http://hdl.handle.net/2263/30005.
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Yuen, Maureen. "Are U.S. Violin Majors Ready? An Exploratory Study of Violin Professors’ Perceptions." Thesis, 2021. https://doi.org/10.7916/d8-37tw-b555.
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This dissertation explores the perceived readiness of potential violin majors (PVMs) in the United States for university-level violin study. The purpose of this study was to explore violin professors’ expectations of PVMs in the United States, their perceptions of how these expectations are being met, and how PVMs can be prepared to meet these expectations. A lack of research into how PVMs in the United States are being prepared for the rigors of university-level violin study warranted investigation to define violin professors’ expectations and their perceptions of the preparedness of PVMs.
A descriptive instrumental exploratory study was conducted using qualitative and descriptive statistical data with 121 participants (n = 121). The participants were tenure-track and tenured violin professors in the United States who have taught for at least three years at universities accredited by the National Association of Schools of Music (NASM) and whose teaching loads consist of a minimum of 75% applied violin lessons. Participants were asked to define their ideal expectations of PVMs, their perceptions of how these expectations have been met, and advice they have for the adults who help prepare PVMs. Data were collected online through a Qualtrics survey and Zoom video interviews.
The findings indicated that violin professors generally agreed upon their expectations of PVMs, which include having a solid technical foundation, performing repertoire that is aligned with their technical development, and being open-minded. Violin professors perceived that less than 50% of PVMs have a solid technical foundation and less than 50% perform developmentally appropriate repertoire, though most PVMs were perceived to demonstrate an openness to learning. Most violin professors accept PVMs into their studios whom they perceive to be unready for university-level study, usually due to administrative pressure.
To meet violin professors’ expectations, they suggest that PVMs work with private violin teachers outside of the K-12 music classroom. Private violin teachers should hold PVMs to a high performing standard, be familiar with violin professors’ expectations, and have the subject matter knowledge and pedagogical content knowledge necessary to develop a solid technical foundation and assign level-appropriate repertoire. Other influential adults include K-12 music teachers, although learning outcomes for K-12 music classes differ significantly from violin professors’ expectations.
Overall, this study demonstrated a clear disconnect between violin professors’ expectations and how PVMs are being prepared to meet them. The data showed that participants made the following assumptions: (a) PVMs take private lessons and are already “apprentices” working with a “master,” (b) audition websites present adequate information for PVMs, and (c) private teachers have the subject matter knowledge to prepare PVMs to meet technical expectations and perform with high standards. There appears to be an overall lack of communication and collaboration not just from violin professors, but also from private teachers and K-12 classroom music teachers.
Recommendations for practice and implementation are offered to the three identified populations that interact with PVMs: violin professors, private teachers, and K-12 classroom music teachers.
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Davis, Lauren. "A model view : achievement, recreation and adult beginning violin instruction." Phd thesis, 2009. http://hdl.handle.net/1885/149953.
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Goins, Katherine Rebecca. "Familiarity with a melody prior to training increases children's piano performance accuracy." Thesis, 2006. http://hdl.handle.net/2152/2705.
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Goins, Katherine Rebecca 1979. "Familiarity with a melody prior to training increases children's piano performance accuracy." 2006. http://hdl.handle.net/2152/12981.
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Yun, Ting Wang, and 王韻婷. "A Study on the Applications of Tong Li's Juvenile Novels to Reading Instruction to Sixth Graders." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/96040534963940487711.
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碩士國立新竹教育大學
語文學系碩士班
97
Abstract Reading is the foundation of all learning abilities. In order to enhance the quality of reading instruction and to expand students' reading experiences, the researcher tried to use three Tong Li's novels, “New Thurible of Swu Fong Er”, “Young Gamalan” and “Seeing Chrysanthemum Again”, as reading texts for designing a reading instructional program. By these local juvenile novels, we look forward to guiding the children to share their reading activities and training their expression abilities. In the class reading environment, they are extremely helpful in developing positive attitudes towards reading. This study aim is to investigate how the application of Tong Li's novels to reading instruction affected the sixth grade students, including the learning process and effectiveness. Based on the notion of the reader-response theory, the researcher encourages students to share the joy of reading through group discussing and cooperation. Hence, the students play a leading role and the teacher’s role becomes a loyal audience instead of a preacher. The studied objects are 35 students of the sixth graders. This study had been conducted for three months. The data were collected through classroom observations and records, worksheets, researcher’s self-examination notes, questionnaires, students’ feedback records, research partner observation feedback record, parents’ feedback. Through analysis and interpretation of data, we obtain conclusions stated below: 1.The Tong Li’s novels selected in this study have the feature of vivid characters and fascinating plots; so they successfully arouse student’s interests in reading. 2.The implementation of reading discusssion activities is beneficial to enhance the understanding of the plot and support children to understand the main idea of the story. 3.During the sharing process, students learn to express their feelings and interact with others. When they discussed the personal characteristics in Tong Li's novels, they not only obtained the chance to share literature appreciation but also experienced the affective education. In addition, it developed children’s self-awareness and independent thinking. Finally, the researcher made suggestions on reading instruction for teachers devoting in reading instruction research.
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Peters, Melvin Lloyd. "Jazz as a model for teaching improvisation in music education." Thesis, 1988. http://hdl.handle.net/10413/8884.
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Croft, Margaret Louise. "A comparative analysis of the violin teaching methods of Shinichi Suzuki and Paul Rolland with reference to the theories of Jerome Bruner." Thesis, 1987. http://hdl.handle.net/10413/2058.
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Briggs, Jessica S. "Reasons for initial and continued enrollment in private piano lessons as self-reported by children in northern Indiana and northern Ohio." 2010. http://liblink.bsu.edu/uhtbin/catkey/1597242.
Full textAbstract:
The purpose of this study was to investigate the reasons children identify for initially enrolling and for continuing to enroll in piano lessons. Several factors were examined to assess their effect on the reasons for enrollment; these factors were gender, age, who initiated enrollment, and length of enrollment in piano lessons. Study participants included 71 children currently enrolled in private piano lessons in Northern Indiana and Northern Ohio. While previous research has focused on the reasons adults enroll in piano lessons, this study focused on children under the age of 18. The participants each completed the Reasons for Enrollment in Piano Lessons Survey. The survey listed various reasons for enrollment, for which the children rated their level of agreement based on a five-point Likert scale. Results indicated that the most agreed upon reason children initially enrolled in piano lessons was they thought it would be fun, and they continue enrollment in piano lessons because it is fun. In addition, the children also stayed enrolled in piano lessons because they wanted to become better pianists, they wanted to become better musicians, and they enjoy learning new music. An important implication for piano teachers is to consider the interests of students when selecting repertoire and provide ample playing opportunities during the lesson time in an effort to increase the amount of enjoyment for the students. In addition, teachers could take advantage of the increasing desire for improvement by challenging older students with more difficult and diverse repertoire, higher overall lesson preparation expectations, and new activities that address the student’s weaknesses. Suggestions for future research include utilizing a larger population, examining the effect of socio-economic status on children’s reasons for enrollment, surveying children in group lessons, and investigating what children think makes a lesson fun.School of Music
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Watkins, Marlene Jeanette. "The pianist and the Brahms sonata for piano and violin, opus 108 in D minor." Thesis, 1989. http://hdl.handle.net/10413/8934.
Full textAbstract:
This thesis deals in particular with the pianist's
approach to the Brahms Sonata for Piano and Violin in D
Minor, Opus 108. There are two chapters, the first of
which takes the form of a bibliography in which
different theoretical aspects for consideration in the
learning of the work are presented.
One of the sections in the first chapter which is
entitled The Pianist, should prove helpful to a
prospective piano teacher, as well as a student of the
Brahms Sonata in D Minor, Opus 10 8. In this section
sources presenting different solutions to technical
problems which the pianist is likely to encounter both
generally, and specifically with regard to this Sonata,
are listed.
The other sections in this chapter include a discography
and comments concerning recordings of the Sonata in D
Minor, Opus 108, which a student of this work and its
composer may consult.
The second chapter of the thesis deals with specific
issues involved in the interpretation based on my
performance of the Sonata in D Minor, Opus 108, for the
practical examination. Three other possible
interpretations by well-known pianists are briefly
evaluated. Attached to the thesis is a cassette tape on
which recommendations for the practising of certain
passages may be heard.Thesis (M.Mus)-University of Natal, Durban, 1989.
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"Prokofiev's music for children." 2011. http://library.cuhk.edu.hk/record=b5894793.
Full textAbstract:
Yau, Oi Suet.Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 170-178).
Abstracts in English and Chinese.
Chapter Chapter 1 --- Introduction
Chapter I. --- Introduction --- p.1
Chapter II. --- Literature Review --- p.2
Chapter III. --- Methodology --- p.7
Chapter IV. --- Thesis Structure --- p.10
Chapter Chapter 2 --- "Background, Children and Music Education"
Chapter I. --- General Historical Background --- p.12
Chapter II. --- "Children, Music Education and the Soviet Union" --- p.22
Chapter Chapter 3 --- Prokofiev and his Children's works in the 1930s
Chapter I. --- Prokofiev's Return to the Soviet Union --- p.36
Chapter II. --- Prokofiev's Children's Works in the 1930s
Music for Children (Op. 65) --- p.43
Summer Day (Op. 65b) --- p.53
Peter and the Wolf [Op. 67) --- p.58
Three Children's Songs for Voice and Piano (Op. 68) --- p.76
Chapter Chapter 4 --- "War Years, Stalin Prize and Radio Committee"
Chapter I. --- Historical Background --- p.89
Chapter II. --- The Awards for Cultural Intelligentsia- Honorary Titles and Stalin Prize --- p.101
Chapter III. --- All-Union Radio Committee --- p.103
Chapter Chapter 5 --- Prokofiev and His Later Children's Works
Chapter I. --- Prokofiev's Late Years --- p.107
Chapter II. --- Prokofiev's Later Children's Works
Winter Bonfire (Op. 122) --- p.109
On Guard for Peace (Op. 124) --- p.121
Seventh Symphony (Op. 131) --- p.139
Chapter Chapter 6 --- Conclusion --- p.153
Appendix --- p.159
Bibliography --- p.170
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"'n Professionele ontwikkelingsprogram in klasmusiek vir die junior primêre onderwyser." Thesis, 2015. http://hdl.handle.net/10210/14734.
Full textAbstract:
D.Ed. (Media Studies)In-Service Class Music Training and relevant programming is addressed in this research. The Class Music requirements in die Junior Primary phase were established by the present researcher in her M.Ed. investigation (1986). The target group involved were Grade 1 teachers who had no or inadequate Class Music training and who had to be responsible for their own music presentation.
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Hanßmann, Matthias 1968. "Christliche musikkatechetik im vorschulalter : katechetik und musikpadagogik im duett." Diss., 2011. http://hdl.handle.net/10500/5106.
Full textAbstract:
Text in GermanThe study at hand proceeds from the assumption that there is a catechetical as well as a music pedagogical teaching tradition for young children. The touch points of the two disciplines emerge rather by chance than by design because one discipline uses the other as an approach. This study raises the key question if a music catechetics is possible. The term music catechetics is used to describe a learning process based on an equal balance of both music pedagogy and catechetics. The debate of this question requires interdisciplinary conversations. The answers can be found in developmental psychology as well as music psychology, music sociology, anthropology and ecclesiastical history. In the end this gives rise to practical theological criteria which can be used to answer and justify the question of music catechetics.
Die vorliegende Untersuchung geht von der Tatsache aus, dass es für Kleinkinder sowohl eine katechetische wie ein musikpädagogische Lehrtradition gibt. Die Berührungspunkte beider Disziplinen ergeben sich eher zufällig, indem sich die eine Disziplin der anderen Disziplin als Methode bedient. Diese Untersuchung stellt nun die zentrale Frage, ob eine Musikkatechese möglich ist. Unter einer Musikkatechese wird ein gleichberechtigter Lernvorgang verstanden, der sowohl Musikpädagogik als auch Katechetik erfasst. Um diese Frage zu erörtern werden interdisziplinäre Gespräche nötig. Sowohl die Entwicklungspsychologie, als auch Musikpsychologie, Musiksoziologie, Anthropologie und Kirchengeschichte werden befragt. Schließlich werden praktisch theologische Kriterien erhoben, aus denen heraus die Frage nach einer möglichen Musikkatechese beantwortet und begründet wird.
Practical Theology
M.Th. (Practical Theology)