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Tesis sobre el tema "School music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

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.

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2

Kim, Patricia Costa. "Making music their own : school music, community, and standards of excellence in Seattle, 1960-75 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11294.

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3

Yackley, Aaron K. "Enjoyment of Music by Non-Participants in School Music." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu156217548202137.

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4

Law, Wai-ming Vivian, and 羅慧明. "Specialist Music School in Diamond Hill School Village." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986584.

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5

Law, Wai-ming Vivian. "Specialist Music School in Diamond Hill School Village." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954817.

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6

Barrett, James Edward. "Music technology in school education." Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.

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What is music, and how should it be taught in schools? This thesis traces how education and literation have reified music and distanced the construction of music in western conceptions, and British education, from practice in other, historical and geographical, cultures. Musical practice is dependant on the technologies for music production, which also influence the cultural construction of music. New developments in music technology, through the application of electronics and digitisation, have substantially changed the music industry, and, beyond this, have altered the generally accepted construction of music, by opening up new possibilities of sound creation and manipulation. These changes are theorised here as a transgressional step in the progressive literation of music, that reconnects musical practice to wider possibilities in the organisation of sound, some of which are examined by reference to the example of the traditional music of sub-Saharan Africa. By requiring more music practice, and inclusion of music from other times and cultures, the (British) National Curriculum has made new demands of music education in schools. It is shown that as these coincide with concomitant changes in the production of music due to new technologies, there is a possibility of restructuring music teaching in schools to take account of twenty-first century industry practice of music production. This will provide a sound basis for future employment to pupils. While there are many examples of excellence in school music teaching, quality remains variable and change is uneven. This thesis demonstrates the possibility within school music, of increasing the emphasis on a wider range ix of possibilities of organised sound, by connecting music to science, especially acoustical science, in Key Stages 1-3. At higher levels, considering music and sound together with images in multimedia will provide wider opportunities for the development of career skills. An electronic xylophone serves as an example of an instrument developed to enable the exploration of sound in the manner proposed, while retaining the kinaethesia found in physical musical instruments.

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7

Skevk, Therese. "Art and Music Profile School." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.

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8

Young, Sharon M. "Music teachers' attitudes, classroom environments, and music activities in multicultural music education /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.

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9

Payne, Barbara S. "Justifying music in the American public school : a survey of selected Ohio school personnel." Connect to resource, 1990. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260639516.

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10

Williamson, Susan J. "My music : the music making and listening experiences of seventh and eighth graders not enrolled in school music ensembles /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11218.

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11

Haire, Chris E. "Motivation for males to participate in private middle school and high school choruses." Thesis, The University of North Carolina at Greensboro, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3708126.

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<p> The purpose of this descriptive study was to analyze chorus participation by males in private middle schools and high schools located in central North Carolina. Specifically, the study was designed to determine: (a) the number of males in these choruses, as compared to the number of females, and (b) the primary motivators of males' initial and continued participation. </p><p> The study included a convenience sample (N = 82) comprised of (a) male students who sang in elective secondary-level choruses in private schools (n = 73) and (b) the directors of these choruses (n = 9). The researcher used two researcher-designed surveys to collect data from participants: (a) the Choral Director Survey (CDS), and (b) the Male Choral Student Survey (MCSS). The CDS was completed by school choral director participants and was used to gather information regarding numbers of male and female students in choruses, confirm the elective nature of chorus classes offered, and determine grade level participation in choruses. The MCSS was completed by male student participants and was used to gather motivational data regarding their decisions to join and remain in chorus. </p><p> Male and female chorus participation data were analyzed using descriptive statistics. Males' initial chorus participation motivational data were analyzed using a factor analysis statistical procedure, and their continued participation motivational data were analyzed using a principal components analysis statistical procedure and a multiple regression statistical procedure. Two Cronbach's Coefficient Alpha measures of internal consistency were calculated to establish the reliability of Parts One and Two of the MCSS data collection instrument. Part One of the MCSS measured male participant motivation for initial chorus participation (á = .921, óe = 8.961) and Part Two of the MCSS measured chorus continued participation (á = .939, óe = 9.293). Both Part One and Part Two of the MCSS measured with a high level of reliability and an acceptable amount of error. </p><p> Analysis of the male and female chorus participation data confirmed similar results from other studies. In the 11 private middle and high school elective choruses included in the present study, the number of female students exceeded the number of male students. Males comprised 31% of secondary school chorus students. Analysis of male participants' initial chorus participation motivational data revealed two primary factors that explained approximately 55% of the variance in male participant responses: (a) an enjoyment of music and chorus and (b) an interest in a class that was less difficult and time consuming than other available options. Analysis of the male participants' continued chorus participation motivational data revealed two significant predictors, which the researcher titled (a) social and (b) unique class.</p>

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12

Chen, Tsun-kit Andrew James. "School of music at Mui Wo." Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B31985671.

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Thesis (M.Arch.)--University of Hong Kong, 2001.<br>Includes special report study entitled : Acoustics and its relation with architecture. Includes bibliographical references. Also available in print.

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13

Chen, Tsun-kit Andrew James, and 陳俊傑. "School of music at Mui Wo." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985671.

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14

Choate, E. Terry. "Order through analogy: a music school." Thesis, Virginia Polytechnic Institute and State University, 1987. http://hdl.handle.net/10919/53119.

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This project represents a continuous search for an understanding of order and totality in architecture. Through consideration of the ideas inherent in music and in mathematics, I realized order in architecture is not only enriching to the project but critically necessary. The task then became to translate these ideas from the realms of music and mathematics to the realm of architecture. The design of this music school is a manifestation of these ideas and has been a generator for further study.<br>Master of Architecture

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15

Kiss, Boglárka. "A chronicle of school music education." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11107.

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Thesis (D.M.A.)--Boston University<br>This inquiry is a chronological overview of the history of school music education in Hungary. The study explores the topic from a large-scale humanistic perspective, in which historical context, general education laws, individual institutions and music educators, as well as music curriculum, textbooks, and teaching methods serve as evidence. The chronological narrative delineates four distinct historical periods within which music education is examined: from the annexation of Hungary by the Austrians (around 1700) to the creation of the first royal edict on education in 1777; the effects and modifications of the edict and other policies from 1777 until the Compromise between Austria and Hungary in 1867; Hungary's education system from the era of the Austro-Hungarian Empire until the end of World War II; and the history of Hungarian education in the second half of the 20th century. Within each period, the study provides a general historical overview, a discussion of educational policies and laws, and specifics of music education. The latter includes the place and rationale of music in the curriculum, the content and methods of music education, and the teachers and students of the subject. This research found that for over three centuries educational laws have consistently set out to shape Hungary's culture by mandating that Hungarians learn to sing, mostly for religious or aesthetic reasons. Historically, outstanding teachers have made great strides in making this goal a reality at specific schools. Zoltan Kodaly in particular was ahead of his time with his child-centered educational ideas and commitment to teaching children a variety of musics. To date, Kodaly's approach is the only one that has realized the goals set out in the educational laws of Hungary. However, Hungary has far from succeeded in implementing Kodaly's vision, having served only those children that were enrolled in music elementary schools. For the most part, inadequate teacher training and bureaucratic hindrances have kept the majority of elementary and secondary schools from adopting his approach in its entirety. Current policies perpetuate these problems, and discourage innovation or critical review of existing practices in music education.

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16

Pascoe, Beverley. "The influence of primary school music programmes on student choice of music studies in lower secondary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.

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The omnipresence of music in today's adolescent society in Australia is evidenced by the fact that adolescents, almost without exception, listen to and enjoy music throughout most of their leisure time, and indeed, much of their study time. A large portion of their financial resources is spent on music and its associated promotional material. It could be said that music plays a major part in their sub-culture and their lives. According to Davey (1991, p.ll), "Music is an addiction in our culture" and "the Walkman and ghetto blaster assure access wherever and whenever we choose." The obvious fulfilment and satisfaction enjoyed by our adolescents through music is not, however, reflected in the comparatively small number of students who choose or qualify to undertake music studies at high school. A study by the U.S. Department of Education (1988) cited by Patchen (1993, p.19) indicates that, while from Kindergarten to sixth grade 80% of students participate in music, in 7th and 8th grades this falls to 48% and by grades eleven and twelve only 9% of students participate in music classes.

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17

Heinrich, Lisa M. "MULTICULTURAL MUSIC EDUCATION: SECOND-GRADE STUDENTS’ RESPONSES TO UNFAMILIAR MUSICS." Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260496852.

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Thesis (M.M.)--Cleveland State University, 2009.<br>Abstract. Title from PDF t.p. (viewed on Dec. 15, 2009). Includes bibliographical references (p. 52-55). Available online via the OhioLINK ETD Center and also available in print.

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18

Gaines, David Alan. "A core repertoire of concert music for high school band: a descriptive study /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974655.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.<br>Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Richard Charles Sang. Includes bibliographical references (leaves 113-116).

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19

Cusano, Janice M. "Music specialists' beliefs and practices in teaching music listening /." Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.

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Thesis (Ph. D.)--Indiana University, 2004.<br>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.

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20

Yoshizawa, Kumie. "Music teachers' current practices and their attitudes toward teaching non-Western music in Japan's elementary and middle schools : a survey of Nagano Prefecture /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3035579.

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Thesis (Ph. D.)--University of Oregon, 2001.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 217-236). Also available for download via the World Wide Web; free to University of Oregon users.

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21

Casto, Trevor W. P. "Urban Music Education: Alternative Experiences in the Middle School General Music Classroom." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391616004.

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22

Kwami, Robert Mawuena. "African music, education and the school curriculum." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1989. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296838.

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23

Gibbs-Singh, Cheynne. "World music in the British secondary school." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30251/.

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World music has enjoyed increasing representation in the National Curriculum up to Key Stage 3. At the same time, music in higher education in the UK is becoming increasingly diverse, with degrees in popular music, world music and jazz becoming more commonplace. This, alongside the growing diversity of the population, supports arguments for introducing and maintaining a diverse music curriculum, particularly one that includes world music, throughout secondary education. The importance of world music in education has been advocated both in the UK (e.g. Wiggins (1996), Stock (1991)) and in other parts of the western world (Campbell (2007) and Fung (1995) in the USA, Drummond (2005) in New Zealand, Schippers (2012) in Holland). However, post-16 music syllabi have remained noticeably narrow in focus: the music A level continues to be dominated by the Western classical music tradition, whilst the BTEC is rooted largely in Western popular music, despite adopting a more flexible approach. Both have recently been revised, and this thesis examines the current status quo regarding diversity in the secondary music classroom, pinpointing some of the challenges and successes of delivering a multicultural music education. It focuses on seven contrasting schools in south-east England. By examining the relationships these schools have with world music, specifically within their post-16 provision, this research examines individual responses towards musical diversity as well as the themes that emerge from these across the subject. These themes include: the exclusivity of Western classical and Western popular music; whether breadth of study or depth of understanding is more valued in classrooms; how teacher attitudes towards world music influences the curriculum content as well as student attitudes; challenges in teaching and learning world music; uptake and engagement; diverse music in non-diverse areas; and the desire for more diversity in the curriculum.

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24

Eriksson, Elin. ""Musik borde vara obligatoriskt" : en kvantitativ studie om musikämnets betydelse för gymnasieelever." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105520.

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The purpose of the present study is to investigate the importance of the subject of music for high school students. A quantitative method, digital survey, has been used to examine high school students' experiences and feelings toward the subject of music. The results have been analyzed from a socio-cultural perspective and from the viewpoint that learning takes place in communication and interactions between people. The previous research that dealt with the subject in the past has also been included in the analysis process. The results show that the subject of music is important for high school students, albeit of different kinds of significance and from different perspectives. Many students have positive experiences of the subject of music, which results in the subject having a positive meaning for them, while others have negative experiences of the subject. The results also show that the subject of music is important not only for students' mood but also for an individual's development of creativity, problem-solving ability and collaboration ability. This creativity also contributes to other professions and should not only be seen as something artistic for only music or other artistic forms of expression. Creativity can contribute to other professions where problem-solving ability, creativity and collaboration are required.

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25

Wayman, Virginia Elaine. "The Meaning of the Music Education Experience to Middle School General Music Students." Diss., Tucson, Ariz. : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1277%5F1%5Fm.pdf&type=application/pdf.

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26

Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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27

Zelenak, Michael S. "Self-Efficacy in Music Performance: Measuring the Sources Among Secondary School Music Students." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3419.

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The purpose of this study was to develop a greater understanding of self-efficacy in music performance. I sought to (a) contribute to fundamental knowledge of self-efficacy in music performance, (b) determine whether scores from the Music Performance Self-Efficacy Scale (MPSES) were valid and reliable, and (c) provide insights for developing self-efficacy among secondary school music students. Participants (N = 290) were middle and high school students in band, chorus, and string orchestra ensembles from 10 schools in the southeast and western regions of the United States. Participants completed four online questionnaires: (a) Music Performance Self-Efficacy Scale, (b) Sources of Middle School Mathematics Self-Efficacy Scale, (c) Self-Esteem of Musical Ability, and (d) Advanced Measures of Music Audiation. Teachers provided 5-point Likert-type ratings of their student's music self-efficacy. Data from the MPSES demonstrated good fit with Bandura's proposed self-efficacy model (SRMR = .06, RMSEA = .06). The strength of the relationships between the sources and composite construct were consistent with theory and findings from other studies. Mastery experience was strongest, followed by verbal/social persuasion, physiological state, and vicarious experience. No differences in responses were found between middle and high school students, or among band, chorus, and string orchestra students. Items on the MPSES were also found to assess participants equally across grade levels. Music aptitude was found to predict self-efficacy in music performance (â = .16) and accounted for 3% of the variance in self-efficacy. This finding raises questions about the role of self-efficacy in mediating the relationship between music aptitude and music achievement. The Music Performance Self-Efficacy Scale was found to be a valid and reliable measure of self-efficacy in music performance. Evidence of validity was based on test content, response process, and internal structure, along with convergent, discriminant, and multi-method relationships. Evidence of reliability was based on test-retest correlation (r = .87) and internal consistency (á = .88). Recommendations for researchers were to link the sources of self-efficacy to performance achievement; explore self-efficacy's relationship with aptitude and achievement; and expand the investigation to other populations. Recommendations for educators focused on improving understanding of self-efficacy and interpreting MPSES results.

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28

Leung, Bo Wah School of Music &amp Music Education UNSW. "Creative Music Making in Hong Kong Secondary Schools: The Present Situation and Professional Development of Music Teachers." Awarded by:University of New South Wales. School of Music and Music Education, 2002. http://handle.unsw.edu.au/1959.4/18665.

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Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.

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29

Ausmann, Stephen Wade. "Characteristics of in-service urban music teachers and pre- service music teachers in Ohio and their attitudes toward teaching music in urban schools /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487687115923089.

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30

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.

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31

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.

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Thesis (M.M.)--Cleveland State University, 2007.<br>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.

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32

White, Rachel Anne. "Effective Music Teaching in New South Wales: How School Music Programs Promote Consistent High Achievement in the Higher School Certificate." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25804.

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The aim of this study is to determine the key characteristics of high achieving school music programs in New South Wales (NSW), and to highlight the fundamental pedagogical practices of their teachers. It builds on previous research examining successful teaching practices. This thesis explores how effective teaching, positive school cultures and co-curricular programs support the consistent high achievement of students in the Higher School Certificate (HSC) teaching and examination context. It also explores the role of parents, gifted education, authentic learning, and the effect of the Australian Tertiary Admissions Rank (ATAR). It aims to fill a gap in the literature related to high achievement in music education in Australia, but more broadly in the areas of effective music teaching, gifted education, and how high achieving music programs benefit school cultures. This grounded theory study identified the top 10% of secondary school music programs in NSW through a quantitative analysis of HSC Music results from 2007–2016. Fifty teachers at 23 schools were interviewed about their pedagogy, processes, teaching philosophy, and the perceptions of music in the broader school community. The results of the qualitative data show that robust cocurricular music programs, expert teachers, and supportive leadership are key contributors to their students’ high achievement. Gifted pedagogy, authentic learning practices, and parental perspectives were reported as also influencing the provision of effective music programming. This research reinforces the need for equity in access to quality music education for all students and the importance of effective and informative advocacy.

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33

Whitmore, Gregory Xavier. "Inspired Practice| The Values of High School Band Directors." Thesis, Teachers College, Columbia University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10273951.

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<p> This study investigated the ways in which early middle to mid-career high school band directors (minimum of five years of experience in the field) operationalize their values for music education through the many musical experiences, artistic opportunities, and educational curricular goals for their students. This study sought to investigate deeper than the operationalization of high school band director values to investigate the values themselves and their inspiration as principally drawn by participating music educators. Participants described that their current set of values for their high school band programs are forged through a variety of influences, most notably music educator identity, and the influences, inspiration, and experience imprint made during their high school and collegiate music career. Other external factors that determine the values of a high school band director are influences of collegiate and high school music educators, and socialization within the undergraduate cohort. </p><p> Data analysis found that music educator values undergo an evolution throughout the career in the classroom, especially as the music educator becomes more certain of his own system of values and music educator personhood; and distances oneself from previous exemplar teachers whose influences cast a long shadow early in one’s career. This study found that the values of high school band directors are established and conflict against the realities and expectations of school administration, community influences, and the norms and expectations of expected common curricular practices for high school bands in a particular region. This study found that high school band director values are under strain from internalized pressures by the band directors themselves, as well as pressures that stem from the need to have one’s work accepted by colleagues. </p><p> This study employed qualitative methodology centered by interviews of 13 research participants. The interview methodology employed was informed by the research methods of Kvale (2007), who espouses that the participant’s everyday world should be the focus of the researcher. Elements of case study methodology were also employed to determine emergent themes, as well as compare participant responses and high school band programs across the cohort of participants. </p>

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34

Meidinger, Valerie. "Multicultural music : attitudes and practices of expert general music teachers in Oregon /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055699.

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35

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

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36

Giotta, Kelsey Kordella. "Motivating Young Adolescents in Middle School General Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1586795995479694.

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37

Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.

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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.

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38

Bonar, Cade McNaughton. "Toward Meaningful Music Education in the Middle School Music Classroom: An Action Research Project." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366524.

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Music commands a significant presence in the lives of young adolescents. Earphones ‘housed’ in the adolescent ear are near accessories to everyday life, and smartphones and other portable devices – and the streaming of content they allow access to – afford the opportunity for music to be consumed anywhere at any time. Furthermore, emerging technologies are enabling greater accessibility to music making and production. Students can learn, create and share music using digital technologies alone. Whether it is consumed or produced, music is firmly cemented in adolescent life – it affords a medium for the construction and identification of ‘self’ and the expression of emotion – and is a significant part of the adolescent ‘Being’ (Lines, 2005a). Despite the significant role of music in the lives of adolescents, school music often fails to demand the same attention. It can present a crisis of relevance for the students it proclaims to serve, with student expectations of music and musical experiences offered often existing at considerable remove (Regelski, 2005a; Lines, 2005a; Swanwick, 1999b). This problem is not new – over three decades ago, Paynter (1982) observed that, “music which, outside of school, almost continuously goes in and out of young people’s heads – which stirs their feelings and activates their bodies, becomes when presented – or as presented – inside schools, a ‘dead bore’” (p. vii). For many students, school music education is perceived as unhelpful, irrelevant, even detrimental, to their musical selves.<br>Thesis (Professional Doctorate)<br>Doctor of Education (EdD)<br>School of Education and Professional Studies<br>Arts, Education and Law<br>Full Text

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Gambler, Matthew B. "The importance of music education and reasons why administrators should develop curriculum, schedules, budgets, and staffing to meet the needs of the music program and its students." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.P.A.)--Kutztown University of Pennsylvania, 2003.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2812. Typescript. Abstract precedes thesis as 2 preliminary leaves. Includes bibliographical references (leaves 97-101).

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40

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

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41

Maas, Andrea. "Musical expression in the high school choral classroom." Thesis, Teachers College, Columbia University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10117744.

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<p> This study explored with high school choral directors and singers, their experiences of musical expression in the choral classroom setting. A phenomenological approach to a collective case study was used to address the notions of “what”, “why”, and “how” in regard to the relationships and interactions between choral directors, singers, their personal experiences and musical texts as they pertain to musical expression. Four high school choral programs participated in this study. One choral director and a focus group of 4-7 students from each program participated in open-ended, semi-structured, interviews. Video recorded observations of choral rehearsals provided media for additional stimulated recall interviews that used both open-ended and framing techniques. These interviews served as the primary method of data collection to help examine how the participants conceptualized and practiced musical expression. </p><p> The high school choral directors and singers of this study described musical expression in broad terms but agreed that it can be understood as both a means of conveying and understanding meanings and emotions. The participants addressed considerations and conditions such as engagement, their emotional response to the repertoire, composer intent, the classroom environment and obstacles such as the difficulty of the score or external distractions. They described specific approaches such as collaborative meaning making of musical contexts, formal elements of a score, and text. Implications are addressed for the ways choral directors approach repertoire selection, classroom configuration, rehearsal strategies, building relationships, delivering content, helping students to develop vocal skills and techniques and the use of collaborative learning and dialog to encourage ensemble interpretations. Participants also described optimal experiences of musical expression in regard to enjoyment, release of tension and perceived time and space. This study helped to uncover some of the ways high school choral directors and singers attempt to acknowledge each member’s individuality while working toward a unified ensemble expression. The data revealed that collectively, the four participating programs shared many common ideas and yet each ensemble had a unique and nuanced approach to musical expression that reflected the values, beliefs and experiences of the choir and its members.</p>

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42

Meckler, Jennifer. "Arranging for School Full Orchestras with Incomplete Instrumentation." Thesis, The William Paterson University of New Jersey, 2020. http://pqdtopen.proquest.com/#viewpdf?dispub=27668002.

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The purpose of this study is to investigate how to choose, adapt, and arrange music for school full orchestras with incomplete instrumentation that are not yet ready to perform unarranged standard literature. The literature suggests that while school full orchestra directors may be able to find some published arrangements that include generous cues for missing instruments and parts for substitute instruments, the most effective approach is to alter and arrange music as-needed. When arranging, it is important for teachers to make choices that allow for their students to be successful, but also preserve the original octaves, timbres, form, and tempo of the piece, as intended by the composer. Arranging options that accommodate incomplete instrumentation are demonstrated in an arrangement by the author for school full orchestra of Franz Joseph Haydn’s Symphony No. 82, Movement I. Further examinations of arranging techniques and abridgement considerations are provided in an additional arrangement by the author of Ludwig van Beethoven’s Symphony No. 6, Movement I, for school string orchestra. Two different published arrangements of “Dance Bacchanale,” from the opera Samson and Dalila by Camille Saint-Saëns, are compared to each other and to the original, to observe how existing arrangements anticipate and accommodate incomplete instrumentation in school full orchestras. A brief history of the full orchestra ensemble in American schools is also included.

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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.

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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.

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Jeanneret, Neryl Christine. "Developing preservice primary (elementary) teachers' confidence to teach music through a music fundamentals course." Phd thesis, Department of Music, 1995. http://hdl.handle.net/2123/8984.

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Constantine, Megan Eileen Clay. "The High School Musical Experiences of College Students." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1307739987.

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46

Aye, Thida S. M. Massachusetts Institute of Technology. "Open vs. closed Apple music distribution platform." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45934.

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Thesis (S.M.)--Massachusetts Institute of Technology, Sloan School of Management, 2008.<br>Includes bibliographical references (p. 75-77).<br>In this thesis, based on the example case study of the Apple iTunes-iPods platform technology, two simple models are analyzed to gain a better understanding of open vs. closed business models as management and market strategies for multi-sided platforms. First, a simple model of a firm with a two-sided platform serving two distinct types of customers is evaluated, assuming network effects as the only intrinsic benefits to joining such a platform. Three different cases of market structure are investigated: (i) monopoly, (ii) open duopoly (iii) closed duopoly. Using game theory, comparative results of prices, profits, consumer surplus and social welfare among the three regimes are presented. The second model focuses on the effects of competition and compatibility between a profit-maximizing closed platform and an open, freely accessible platform. Given certain conditions, it is shown that compatibility can in fact be a profitable strategy for closed platforms while improving social welfare at the same time.<br>by Thida Aye.<br>S.M.

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Ponty, Hélène. "Produce it yourself : remodeling the music industry." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59140.

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Thesis (S.M.)--Massachusetts Institute of Technology, Sloan School of Management, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references.<br>In this thesis, I develop a business plan for a music label allowing people to invest in bands and to be paid back when the bands makes some money. The idea is based on a new business model developed by several companies in Europe and particularly MyMajorCompany in France. Bands are promoted on Produce-It-Yourself s website and investors can decide to put their money in the bands they like or believe in. First, I analyzed the market opportunity for the company, targeting people between 18 and 35 belonging to the digital generation. I then explain the idea of Produce-It- Yourself and how this idea could solve the threats the music industry is currently facing, particularly with piracy and illegal downloading. I also develop the marketing and sales strategy of the company, showing how we are going to focus or efforts on digital albums in order to keep our manufacturing costs low and to take advantage of the trend showing a decrease in physical CDs sales and an increase in digital sales. Finally, I made some financial projections to estimate the potential of the venture on a five-year period. The conclusion of the plan shows the composition of the team and of the board of advisors, since the success of the venture will be mainly due to the team and its ability to execute the idea properly.<br>by Hélène Ponty.<br>S.M.

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Varner, Edward Lee. "Why High School Students Participate in Band." Thesis, Concordia University Chicago, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10640288.

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<p> The purpose of this study was to examine the factors that motivate high school students to participate in school band. The relationships between music education, academic success, and social engagement in school were explored. A survey questionnaire and interview questions were used to generate response data from 45 high school band members. Data were gathered, coded, and analyzed using qualitative survey and structured interview design techniques. A systematic approach was used to create a viable narrative that, when added to existing literature, provided a better understanding of the topic for those decision makers struggling to find justifications for how and why band is an important option for high school students. Findings from this study support earlier research and provide a strong case for the claim that many students are intellectually, emotionally, expressively, and musically nurtured by membership in school band. Stress relief was a powerful theme throughout student responses and many students indicated that band was an important place where they were able to build their strongest support relationships. The information acquired from this study provided insight into student perceptions about the value of band participation from environmental, behavioral, and cognitive viewpoints and highlighted the importance of band as a social and emotional support space where students are able to find sanctuary from the stressors of their lives. </p><p>

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Holmes, David M. "An examination of fifth grade instrumental music programs and their relationships with music and academic achievement /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11419.

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Stock, Carolyn D. "Perspectives in music education and arts education : the role of National standards for arts education in music education policy reform /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p1413024.

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Thesis (M.A.)--University of Oregon, 2002.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 74-75). Also available for download via the World Wide Web; free to University of Oregon users.

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