Rozprawy doktorskie: „Music educaton”

1

Moore, Laurence James, i res cand@acu edu au. "Sing to the Lord a New Song: a Study of changing musical practices in the Presbyterian Church of Victoria, 1861-1901". Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp49.29082005.

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The latter half of the 19th century was a time of immense change in Presbyterianism worldwide in respect of the role of music in worship. Within this period the long tradition of unaccompanied congregational psalmody gave way to the introduction of hymnody, instrumental music (initially provided by harmoniums and later by pipe organs) and choral music in the form of anthems. The Presbyterian Church of Victoria, formed in 1859 as a union of the Church of Scotland and the majority of the Free Presbyterian and the United Presbyterian churches and numerically the strongest branch of Presbyterianism in Australia, was to the forefront in embracing this tide of change. Beginning in 1861with the proposal for the compilation of a colonial hymnbook, issues associated with musical repertoire and practice occupied a prominent place in discussions and decision making over the next 30 years. Between 1861 and 1901 hymnody was successfully introduced into church worship with the adoption of three hymnals in 1867, 1883 and 1898. Programs of music education were devised for the teaching of the new repertoire and for improving the standard of congregational singing. A hallmark tradition of Presbyterianism was overturned with the introduction of instruments into worship, initially as a support for congregational singing but in time as providers of purely instrumental music also. The profile of the choir changed dramatically. Making extensive use of primary sources, this study aims to document the process of change in Victoria between 1861 and 1901, exploring the rationales underlying decisions taken and historical factors facilitating change. Musical developments in Victoria are viewed in the context of those elsewhere, especially Scotland and of general changes in aesthetic taste. The study concludes that the process of musical change shows the Presbyterian Church of Victoria to have been a forwardlooking and well-endowed institution with the confidence to take initiatives independent of Scottish control. It is also concluded that changes in musical practice within the worship of the Presbyterian Church of Victoria reflect developments taking place in other denominations and the changing aesthetic tastes of the Victorian era.

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2

Hale, Travis L. "Becoming an educator: identity, music education, and privilege". Diss., Kansas State University, 2018. http://hdl.handle.net/2097/38794.

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Doctor of Philosophy
Curriculum and Instruction Programs
Frederick Burrack
This study is an intertwined critical autoethnography through which my experiences, my stories, are woven together with memories of family, students, and teaching career. Together, the telling of these stories will explore how I negotiated my identity development throughout my middle and high school experiences at a time when I could have been labeled as an at-risk student. The development into my professional career and personal life all influenced strongly by my participation in music education. Filtering these stories and memories through the lens of critical whiteness theory, this study interrogates the social assumptions that may be placed on at-risk students, exploring how these assumptions function within the context of access within our current music education structures, and investigates the ways in which social support systems allow opportunities for access of white male students and privilege in music education. An overarching question guiding this research is: How does the interrogation of such white privileges inform how one develops their identity as a music educator, a researcher, an academic, a husband, a father, a human, as well as, the curricular structures in place guiding access within music education?

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3

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.
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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4

Forari, Antonia. "The voices of Cypriot music education : a sociology of music education". Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/10006665/.

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Monitoring the processes through which upper secondary music education in Cyprus is constructed calls for articulation of the meanings of four groups of key actors. These actors are involved in music education's journey from education policy contexts to curriculum contexts. They include, firstly, the policymakers of the Cyprus Ministry of Education, who form policy and present this as curriculum ideologies, mainly in the official rhetorical curriculum. Second, the music inspector (for which there is only one post in Cyprus) has the main responsibility of interpreting, adapting and embodying this education policy in the intended music curricula. Third and fourth, this education policy is implemented, with a degree of interpretation, by music teachers, and actively received by pupils, who conceptualise and interact in complex ways with what is made and remade as the context of a school music educational culture, according to their own distinct logic, in relation to the delivered and received music curriculum respectively. This thesis investigates these various meanings through a policy trajectory study, gathering mostly qualitative data to unravel what counts as music education for the actors and how they conceive each others' meanings. Empirical data were gathered with reference to the aims, content, activities and assessment of the curriculum as conceived by individual key actors. Data referring to the first context identified earlier, that of the official rhetorical curriculum, involved a range of documentation from the Archives of the Ministry of Education of Cyprus; an extended semi-structured interview and follow-up discussions with Cyprus's music inspector were conducted regarding the second context, that of the intended music curriculum; a questionnaire to music teachers and, finally, group interviews with pupils were conducted in relation to the third and fourth contexts, the delivered and received curricula respectively. The findings indicate that Cypriot music education is a polydynamic site, full of paradoxes and conflicts within and between all four contexts. Key actors struggle with each other to define what counts as music education. In these terms music education is viewed as a socio-political construction, in which critical theory, and, more specifically, Foucault's concept of power as possessing an exclusionary, silencing aspect as well as a creative, positive one, can reveal what counts as musical knowledge. A theoretical model is proposed as an aid to conceptual and methodological interpretations of curriculum policy trajectory phenomena in music education.

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5

Thorgersen, Ketil. "Music from the Backyard : Hagström's Music Education". Doctoral thesis, Luleå tekniska universitet, Institutionen för musik och medier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40056.

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Dunn, Anne Maureen. "Music education : an adult education perspective". Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/10019700/.

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NGUYEN, DUY. "SOFTWARE FOR MUSIC EDUCATION". Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190713.

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Makonnen, Karyn. "The Interdisciplinary Approach: A Music Education Methods Course Component For Preservice Education and Music Education Majors". Bowling Green State University / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1421884052.

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Gross, Jeanne Bilger. "Benjamin Russel Hanby, Ohio composer-educator, 1833-1867: His contributions to early music education /". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu148758461216499.

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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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Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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12

Paton, Rod. "The process of renewal in music and music education". Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307250.

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13

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.
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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14

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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15

Runn, Elin, i Mikaela Jönsson. "Using music in Swedish education". Thesis, Malmö högskola, Lärarutbildningen (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29906.

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Arbetets syfte är att undersöka på vilka grunder musik bör användas som redskap i svenskundervisning. I ämnesplanen för svenska 1 finns flera formuleringar som stödjer lyssnandet samt att eleverna ska kunna hantera flera olika medier. Användandet av musik går ifrån den traditionella ”läsa-skriva”-ramen vilket gör att det kan finnas motstånd mot denna typ av estetisk läroprocess. Vårt mål med undersökningen är att visa att musik som medel kan användas i svenskundervisning utan att försämra elevernas slutresultat. Musikens pedagogiska fördelar har belagts av flera forskare. För att styrka dessa fördelar har vi använt oss av relevant litteratur från Sundin (1998), Sundin (1995), Scheid (2009) Steinberg (1994) och Wiklund (2009). Vår förhoppning är att visa musikens motiverande effekt. Litteratur som rör motivation hämtades från Dysthe (2008) och Hugo (2011). Vår undersökning utgår från en text och två undervisningspass. I det första passet analyserade eleverna texten utan musik och i det andra analyserade de samma text med musik. Detta skede observerades och elevernas svar på analyserna följdes upp med individuella intervjuer av fyra på förhand utvalda elever. Det sammanställda resultatet visade att ingen informant gjorde sämre ifrån sig med musikens inträde, däremot gjorde en elev en bättre analys. Tre elever ansåg att musiken gjorde undervisningen mer intressant. En elev uppfattade musiken som störande, men påpekade att det troligtvis berodde på hans ovana att använda musik i undervisningen. Musikens positiva effekter visades tydligast i elevernas resonemang kring deras engagemang inför uppgiften, samtidigt som inget slutresultat försämrades.

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16

Jarachovic, Jacquelyn Sarah. "Vocal Health Education for Preservice Music Education Students". Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588190950179913.

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17

Schaus, Lam E. "Implementing multicultural music education in the elementary schools' music curriculum". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.

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The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in Ontario's music curriculum, (b) students receive non-Western music with enthusiasm, and (c) if taught responsibly, learning music from non-Western cultures can expand individual students' musical and cultural horizons, help eliminate stereotypes and discrimination in society, and possibly elevate the status of music education in schools.

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18

West, Susan, i susan west@anu edu au. "A new paradigm in music education : the Music Education Program at The Australian National University". The Australian National University. Centre for Educational Development and Academic Methods, 2007. http://thesis.anu.edu.au./public/adt-ANU20090816.132910.

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This thesis describes a qualitative action research process undertaken in the field over approximately eight years of the development of an alternative paradigm for music education. This new paradigm evolved from a simple, practical approach that was not, in the first instance, designed to be transformational, but which quickly showed itself to have potential for providing a different model for conceptualising musical engagement. ¶ It is argued that the standard and widely accepted approach to music education has aspects that does not encourage on-going music making. This study conceptualises that traditional Western approach in terms of a virtuosic mountain that prioritises and rewards technical achievement. The concept of the virtuosic mountain is developed in terms of three Ps: Perfection, Practice and Performance. The concept was developed by not just reviewing current literature but also by analysing that literature in light of the developing new paradigm as a means of comparing and contrasting the approaches. ¶ Called The Music Education Program, this new paradigm is based on a practical approach to the sharing of music making beyond institutional boundaries like the school gate. Children do not perform in the community but seek to engage others in making music with them without reference to age, disability or skill level. The focus is on the social outcomes that derive from music making rather than the improvement of skills, which develop as a natural part of community engagement. In this respect, the approach has roots in community enculturation processes that are no longer prominent in Western society. ¶ The new paradigm is presented with a contrasting set of three Is: Intent, Identity and Involvement, which are designed to illustrate how the community outreach of the Music Education Program provides a model for consciously reconceptualising our approach to music education through re-visiting what might be regarded as old practices in a new guise. The three Is are illustrated through a series of critical incidents that highlight the necessary change in theoretical underpinnings that the practical application of the Program demands. This includes a particular focus on the Intent behind our music making, rather than the quality in terms of technomusical outcomes; stress on the individual and group choices that develop musical Identity; and demonstration of the ways in which this paradigm may contribute to voluntary, rather than enforced, Involvement. ¶ The critical incident data is supplemented by some survey and evaluation data which supports the view that the social component of musical engagement provides an alternate focus to musical development than does an achievement paradigm. The range of data collected shows that classroom teachers can take a significant role in the encouragement of music making in the primary school without relying solely on the expertise of those with specific musical training; and that overcoming negative attitudes and experiences can transform not only the teachers relationship with music but produce a positive effect on her students. ¶ The model described here has evolved through a longitudinal process that constantly maintains the centrality of the practical operation of the program. In so doing, it moves away from theoretical constructs that often do not seem to relate directly to practitioners but, at the same time, it avoids prescriptive methodology. Theory is elucidated through practice in a way that encourages teachers to develop their own practices that are consistent with underlying principles. This model is transformative in nature, having first a transformative effect on the principal researcher and thence on those teachers engaging in professional development with the Program. ¶ Since the Music Education Program does not yet have students who have exited the school system, this study does not attempt to claim success in the long-term in terms of promoting ongoing engagement through life. Data suggest, however, that it has had an impact in encouraging teachers to reconnect with music making and enables them to share that music making with their students, thereby helping to develop more school-based musical engagement that is also affecting the broader community in the Australian Capital Territory.

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Rush, Sharon G. "Leadership and Administrative Tasks of Secondary Choral Music Educators". Digital Commons @ East Tennessee State University, 1992. https://dc.etsu.edu/etd/2780.

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The problem of this study was the inconsistency between perceptions of secondary choral music educators and college and university choral music professors pertaining to needed leadership and administrative training in undergraduate music teacher education programs. The main purpose of this study was to attempt to develop a list of recommendations pertaining to necessary leadership and administrative tasks of music education majors. Two subpurposes of this study were: to help university and college school officials evaluate the present curriculum and adjust it to help meet the needs of their music education graduates; and to help expand the limited literature base concerning administrative and leadership tasks that are required of bachelor of music education degree graduates. This descriptive study was conducted to attempt to identify administrative and leadership tasks necessary for secondary choral music educators. A four point Likert-type scale was used to identify the importance level of administrative and leadership tasks of secondary choral music educators. A preliminary questionnaire was developed and mailed to a selected panel. After changes were made based on respondents suggestions, two pilot studies were conducted. The results were tested for reliability and validity. It was then sent to 899 secondary choral music educators (25.0% of the population) and to all 131 college and university choral music educators within the Southern Division of the Music Educators National Conference. The conclusions of this study were based on 486 responses from secondary choral music educators and 63 college and university choral music educators. No significant difference existed between the two groups. Developing rapport with parents and conducting fund-raisers were the only two tasks that obtained absolute significant differences. This analysis provided the rationale that 49 of the 51 tasks are basically valued at the same level of importance by secondary choral music educators and college and university choral music educators. All of the tasks, except for attending school board meetings and employing special service personnel received a majority percentage level from both groups for inclusion in a music teacher education program. Recommendations were based on the analyses that the majority of tasks were important and should be included in a teacher education program.

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20

Nyholt, Gustafsson Anette. "Musik och lek i skolan – Ett pedagogiskt redskap? : Music and playing in school- an instrument for education?" Thesis, Mälardalen University, School of Education, Culture and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-1195.

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Syftet med detta examensarbete är att ta reda på hur pedagoger som arbetar med

barn använder sig av musik och lek i undervisningen. För att få reda på det

genomfördes intervjuer och observationer av fyra pedagoger i en skola i en

mellansvensk stad. Respondenterna arbetar med barn i olika åldrar, från

förskoleklass till årskurs nio. Sedan jämfördes intervjuerna och observationerna mot

tidigare forskning. Läroplanen (Lpo 94) säger att de som arbetar med barn i skolan

ska försöka hitta sätt att fånga elevernas nyfikenhet och ge dem lust att lära. Man ska

se alla barn som olika individer och hitta möjligheter för alla att lära och utvecklas.

Musik, lek och rörelse anses av flera forskare vara ett bra sätt att uppnå detta. Man

kan genom musiken visa att man behärskar språket, eller ges en möjlighet att kunna

ta till sig ett nytt språk. Pedagogerna i studien vet att man ska ta till vara på barnens

naturliga lekfullhet och lusten att sjunga, och de utnyttjar detta till viss del i

undervisningen. Det är fortfarande viktigt för pedagogerna att använda sig av

läroböcker i undervisningen, då inte alla vill eller kan lära med hjälp av lek och

musik. Efter en viss åldersgrupp försvinner till en viss del musiken och nästan all lek

från skolan, då respondenterna har skilda åsikter om vad eleverna tycker är barnsligt

eller inte.

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21

Shuck, Cynthia Marie. "Music Integration: Educators’ Perceptions of Implementation and Student Achievement in Public School Elementary Education". Scholar Commons, 2005. https://scholarcommons.usf.edu/etd/863.

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This qualitative case study investigated the levels and frequency of music integration being implemented at a public elementary school in central Florida, what key issues affect the successful implementation of effective music integration, and if music integration has an influence on academic achievement. This study focused on 14 elementary school educators actively involved with music integration at one public elementary school. The multiple formats of data collection and analysis provided triangulation and increased the viability and transferability of the results. The five data collection formats that were used consisted of surveys, observations, lesson plans, interviews, and student achievement documents. Data results were coded and analyzed for themes, similarities, and differences. Tables, graphs, narratives, and transcription quotes illustrate the data results. The literature review provides historical and foundational information of how interdisciplinary qualities of music education relate to student achievement. This study offers working integration examples and addresses the important issues and benefits of music integration. With increased high-stakes accountability for student achievement, educators must explore viable curriculum options that aid academic achievement (Arts Education Partnership, 2002; Cutietta, 1996; Hyatt, 2004; Mallery, 2000; Snyder, 2001). This study found academic benefits are linked to music integration as previous research has found (Bresler, 2002; Brewer, 2002; Drake, 1998; MENC, 2001, 2004; Wiggins and Wiggins, 1997). Perhaps other elementary school personnel working toward higher student achievement will find the results useful to increase effective music integration at their schools. The following were major findings of this study: (a) music integration occurred at Levels 1, 4, and 5; (b) awareness and training were the 2 most important issues affecting music integration out of the 12 identified in this study; and (c) educators do perceive music integration to be beneficial to students academically, behaviorally, and emotionally. Contributions of this research are beyond that typically found in similar literature: (a) a balanced research-practitioner music integration resource; (b) an awareness and training program for school administrators, which includes working models and literature to help educators improve the musically integrative practice in their elementary curriculum; and (c) the development of Music Integration Criteria and an Integration Consortium.

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McClellan, Edward Richard. "Relationships among parental influences, selected demographic factors, adolescent self-concept as a future music educator, and the decision to major in music education". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1465McClellan/umi-uncg-1465.pdf.

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Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Feb. 29, 2008). Directed by Donald A. Hodges; submitted to the School of Music. Includes bibliographical references (p. 192-216).

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Ericson, Maja. "Motivation och feedback i musikundervisning : En kvalitativ studie om hur musiklärare motiverar och ger feedback till sina elever i musikklassrummet". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95844.

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The study examines how different music teachers in secondary school and high school motivate their students and gives feedback in the music classroom. The study has been done together with five music teachers where individual interviews have taken place in the school where the informants work at. The music teachers have all been active in the school sector in different long time and have all different specialist areas in the subject of music. The result of the study shows that the music teachers motivate their student in different ways depending on the group dynamics and class composition that prevails and what motivational factors each individual student is driven by. The result also shows that feedback is an ongoing process that takes place all the time in the music classroom and that good feedback is important for students motivation.

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Snow, Michelle Hansen. "Music education and entrepreneurship: post-secondary music teacher education and value creation for individuals and communities". Thesis, Boston University, 2012. https://hdl.handle.net/2144/12633.

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Thesis (D.M.A.)--Boston University
Entrepreneurship is a topic gaining attention within post-secondary education in the United States in a multitude of disciplines outside of the traditional business school. In the discipline of music, entrepreneurship education can be described as an approach to preparing professional musicians that considers the artistic and economic environment they will encounter upon graduation. The aim of entrepreneurship education is to help a student creatively apply her or his education, skills, passion, and vision toward creating a sustainable career in music. Entrepreneurship education may hold particular significance in the realm of music teacher preparation in post-secondary education for its potential to broaden employment opportunities for music educators and to help them create new and expanded value for individuals and communities within and beyond the pre-K-12 school settings for which music educators are traditionally prepared to work. Examples include preparation in studio teaching and community music leadership. Drawing on the historical and theoretical foundations of traditional entrepreneurship, and examining current models of entrepreneurship and entrepreneurial thinking in music education, I develop a conceptual framework for how entrepreneurship education might serve as a means of positively transforming music teacher preparation practices in post-secondary education to better meet the career needs and interests of music education majors and other music majors who aspire to teach music. Programs that are designed to create musical, social, and economic value for individuals and communities may challenge and expand current accepted definitions of "music educator" and might bring greater relevance to the aims, processes, and content involved in music teacher preparation programs. Particular attention is focused upon three entrepreneurial models of music education: the Sistema Fellows Program of El Sistema USA, Musical Futures in the United Kingdom, and the Music-in-Education concentration at New England Conservatory.

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Kladder, Jonathan Ross. "Re-envisioning Music Teacher Education: A Comparison of Two Undergraduate Music Education Programs in the U.S". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6719.

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The coursework requirements for an undergraduate music education degree in the U.S. have remained relatively unchanged since its inception in the early twentieth-century. In light of the changing milieu of the twenty-first century music learner, some scholars and researchers have suggested redesigning particular components of the music education degree. A few universities in the U.S. have reacted by implementing changes to their undergraduate music education curricula. Preliminary data and reviews of literature revealed that limited investigations into these programs existed. The purpose of this research was to investigate two established music education degree programs in the U.S. where the faculty had redesigned their curricula, while extracting similarities and differences among them. Furthermore, this study was designed to investigate the impact of these curricular changes on students and faculty. Qualitative data were collected through interviews and observations. Lewin’s (1947) Change Theory was used as the framework guiding the investigation. Data analyses and a cross-case synthesis suggested the redesigns took two to four years, which included removing courses in the general music study areas. There were four main themes extracted from these data: (1) faculty-directed process, (2) tension, (3) impetus, and (4) outcomes. These themes illuminated the challenges associated with the work and the influence of the redesign on student dispositions, experiences, musicianship, and future careers. Implications for the field of music education and suggestions for future research are provided in conclusion.

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Cook, Andrew S. "A poststructural investigation of music teachers and music education in film". Thesis, Boston University, 2013. https://hdl.handle.net/2144/10970.

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Thesis (D.M.A.)--Boston University
As popular texts that circulate widely, films contribute to the way groups, individuals or ideas are understood in society. In this study I sought to explore the portrayals of music teaching in Hollywood movies, and examine the ways films might contribute to the occupational identity of music teachers. This investigation focused on four films that feature music teachers as major characters and that demonstrate a prevalent position in public consciousness as indicated by commercial success: Mr. Holland's Opus (1995), Music of the Heart (1999), Drumline (2000) and School of Rock (2002). I employed two poststructural approaches to analysis which view meaning as plural, negotiated and produced primarily by the reader's encounter with the text. One reading uses Derrida's project of deconstruction to focus on aporias, or paradoxes, and assumptions upon which texts make claims of truth. Aporias of responsibility, hospitality and the gift serve as lenses through which I investigate issues of professionalism, access and the image of the hero-teacher within music education. A second reading uses an intertextual approach to film analysis, acknowledging that texts derive meaning in part from their association and communication with other texts. Using related films, texts from popular culture and movie reviews, I investigate how these films construct images about gender, race and the value of music in schools. Exploring possible dominant, negotiated and contrary readings of these film texts, I look at a variety of possible interpretations and suggest ways that the films might be used by teachers and pre-service teachers to better understand expectations that people carry with them into the music education environment. As films may be used as sources for common-sense understandings in society, I explore how these films may act as structures to the agency of music teachers and how the negotiation of these portrayals might impact the music education environment.

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Holmberg, Susan D. "Music teachers’ perceptions: the role of music education in early literacy". Diss., Kansas State University, 2010. http://hdl.handle.net/2097/4635.

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Doctor of Philosophy
Curriculum and Instruction Programs
Jana R. Fallin
In the wake of No Child Left Behind Act (U.S. Department of Education, 2006), educational reforms focused on providing students with effective systematic instruction in reading skills have become a nationwide concern. Report findings from the National Reading Panel (National Institute of Child Health and Human Development, 2000), indicate the establishment of a high quality comprehensive reading curriculum must include the five key components of phonemic awareness, phonics, fluency, vocabulary, and comprehension to improve reading achievement. These essential elements, with emphasis on phonemic awareness and phonics skills beginning in pre-kindergarten, are instrumental in the acquisition of early literacy development. The purpose of this qualitative study was directed toward better understanding first grade general music teachers’ perceptions of the role of music education in the attainment of early literacy. Using a multi-site case study design to examine and present an analysis of nine public elementary school music educators from across a Midwestern state, each of which used one of the three elementary general music series currently published, resulted in this collective case study. Data indicated parallels focused on the five key reading components between music and language literacy development processes, with particular emphasis on aural discrimination skills to phonemic awareness. Further findings described the sequential sound before symbol pedagogical practice of music literacy development from the perspective of the nine general music educators to be similar to early reading skills progressions, as they experienced equivalent learning processes. Implications for the educational community and suggestions for further research were discussed.

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Rodríguez-Quiles, y. García José A. "Spain : current planning for music education". Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/3212/.

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Content: 1. Introduction 2. Music in the curriculum of The Educación Obligatoria 2.1 Music in Educación Primaria - Listening and Comprehension - Music Making - Rational Analysis (Musical Notation) 2.2. Music in Educación Secundaria Obligatoria (E.S.O. Compulsory Secondary education) and Bachillerato (Pre-University Education) 3. Music in the Spanish Non-Compulsory Education 3.1. Elementary and Medium Levels 3.2. The “Title of Higher Music Education” 4. The new certificate of “Didactic Specialization” 5. Concluding remarks

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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
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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Beer, Luzaan. "Music education in the foundation phase". Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.

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Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.

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Thompson, Laura C. "How Arkansas Band Educators Use Technology for Music Education and Their Attitudes towards This Technology". Thesis, Arkansas State University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13861515.

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This study was conducted in order to understand the types of music technologies band educators in the state of Arkansas were using, their attitudes towards technology, and the implications training, during undergraduate and through professional development, had on the frequency of use. Arkansas Music Educators (n = 64) completed an online questionnaire containing demographic information, selection of music technologies, agreeability/disagreeability to statements about music technology, frequency of use, descriptions of technologies, and description of how they felt music technology should be used for the purpose of learning. Regarding training in undergraduate professional development for music technology use, there appeared to be no difference between the increase of music technology usage and the increase of more training. Results suggest that participants have an overall “good” attitude towards technology with the stipulation that it should be considered a tool, students and teachers receive appropriate training, and it should be used efficiently.

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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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Gunnarsson, Linnéa. "Att arbeta ämnesintegrerat med musik i skolan : En studie om elevers perspektiv på ämnesövergripande och ämnesintegrerad undervisning". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76384.

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The focus in this study are students’ experiences and opinions on interdisciplinary and subject integrated education with music. The collected material consists of a questionnaire to students in grade nine at two elementary schools in Sweden. The perspectives in the study are based upon Dewey and pragmatism, as well as Vygotskij’s thoughts on creative activities, imagination and creativity in school and have been interpreted through the methodology of hermeneutics. The study reveals that the students have different experiences and perceptions of interdisciplinary and subject integrated education. Some subjects are more occurring than others when it comes to collaboration and integration with music in different ways. Students also have different views if it could help them and as well as affect their learning if subjects collaborate and connects to each other in different ways. Whether they are positive or negative to this, there are several students that emphasize that the education and learning becomes more fun and creative.

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Miller, Reeves Harold Macmurray Medaglia. "The vision music of Casanova, the personal transformation of a music educator". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0009/NQ59094.pdf.

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Sieger, Crystal Anne. "Identity Perceptions of Music Performance/Music Education Double Majors: A Qualitative Study". Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/268353.

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Undergraduate students who double major in music performance and music education often face issues with identity perception unlike those of their single-major counterparts. As they simultaneously develop both identities, double majors cope with additional challenges as they determine who they are and who they hope to become. Some easily adapt to both identities--incorporating values of both majors to create a well-rounded persona--while others struggle to find balance between the two identities. The purpose of this study was to investigate the early stages of performer-teacher identity by examining double majors in various stages of their programs of study who aspire to become a performer and music educator. Using individual and focus-group interviews and e-mail prompts, I investigated the experiences of five undergraduate students majoring in music education and music performance. Participants were asked to describe influences that led them to the double major. They were also asked to consider which of their majors they felt to be more prominent, and how they intended to utilize each major in their future. Participants also described qualities of ideal performers and teachers. They responded to questions regarding training received and perceptions of superiority and inferiority within the school of music. Six themes emerged from the analysis. I found that participants were enveloped in varying degrees of blended musician identity depending on the length of their experience. Participants had been socialized primarily by family and teachers, and secondarily by applied professors and practical experiences. They felt most like performers or teachers when involved in hands-on experiences, and those experiences that were considered in real-life situations were the most helpful in identity development. Participants expressed concerns regarding heavy workloads and their ability to develop adequate skills for success. I also discovered a tendency of participants to cater to the perceptions of those within their environment. Concern for the opinions of others often led to a superiority/inferiority conflict between performance majors and music education majors both within and across applied studios. Implications for music school faculty and music students are included.

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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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Sangiorgio, Andrea. "Collaborative creativity in music education : children's interactions in group creative music making". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.

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This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in Rome, Italy. A group of eight 5-7-year-old children participated over eight months in 30 weekly sessions of group creative activities in music and movement. I was the teacher researcher and worked with a co-teacher. This exploratory, interpretive inquiry was framed by sociocultural perspectives on learning and creativity. A qualitative research methodology was adopted, which combined methodological elements derived from case study research, ethnographic approaches, and practitioner research. Data collection methods included participant observation, video-recording of sessions, documentation, and strategies for eliciting children's meanings. Thematic analysis, both theory-driven and data-driven, was conducted in order to identify relevant issues. The findings of the study suggest that in creative collaborative work in music bodily interactions and musical interactions have a stronger significance than verbal interactions. A conceptual distinction was made between 'cooperative' vs 'collaborative' which helped to characterise the different degrees of interactivity in the group's creative work. The study identified a range of component aspects which influenced the quality and productivity of children's collaborative interactions. These included: children's characteristics, context and setting, pedagogical approach, task design, collaboratively emergent processes, underlying tensions in creative learning, reflection on and evaluation of creative work, and time. Children actively gave meaning to their group creative music making mostly in terms of imagery and narrative, though they were gradually shifting towards more purely musical conceptualisations. Creating music in groups had the potential to enhance their sense of competence, ownership and belonging, and supported ethical values such as promoting the person, freedom, responsibility, a multiplicity of perspectives, and democracy. Three meta-themes run throughout the findings of the study, which are in line with sociocultural perspectives: i) a systems perspective as necessary to gain a more comprehensive view of collaborative creativity; ii) creativity as an inherently social phenomenon, and iii) creativity as processual and emergent. The implications for pedagogical practice highlight the importance of including creative collaborative activities in the music curriculum.

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Andrianopoulou, M. "Aural education and its pedagogical conceptualisation in higher music education". Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10043813/.

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‘Aural training’ has been a part of Western tertiary formal music education from the latter’s beginnings in the 19th century. Traditionally, it focuses on pitch and rhythm, and features the practices of solfège and dictation, which can be traced back to the work of Guido d’ Arezzo in the 11th century. Guido’s system, as well as later uses of solfège and dictation in 19th-century European and American schools and choirs, aimed to aid and facilitate musical learning for both children and adults. More recently, however, empirical research has shown music teachers and students to be often negatively predisposed towards this branch of music education, across different levels. Criticisms pertain to issues such as a perceived narrow focus on pitch and rhythm, acontextual treatment of musical material, emphasis on reproductive activities and on verbalisable musical knowledge, along with a longstanding neglect to forge links between ‘aural training’ and music psychology. During the last four decades or so, many educators across countries have proposed different approaches to broadening the content and methods of this type of course, aiming to highlight its connections with other subjects of the music curriculum and enhance its overall relevance for the music student and their future professional needs. Aiming to contribute to this discourse, the present study seeks to explore the practice of ‘aural training’ from historical, pedagogical, psychological and cultural perspectives. As a result of this investigation, a number of pedagogical principles are proposed, as a possible way of widening ‘aural training’ into a broader, more relevant and effective form of ‘aural education’. Findings emphasise the multi-faceted and subjective character of our relationship to music; the inter-connection between different ways of experiencing musical sound; the ubiquitous presence of emotion in all of these; the richness of implicit forms of knowing; and the inestimable importance of assimilated aural experience for learning, performing and improvising music. A more holistic approach, which will acknowledge the richness of our relationship to music and be rooted in absorbed aural experience, is proposed as a possible alternative to 'aural training'.

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39

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

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

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Moore, Judy W. "Music education in Prince George's County, Maryland, from 1950 to 1992 an oral history account of three prominent music educators and their times /". College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/2028.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Torrance, Tracy A. "Music Ensemble Participation: Personality Traits and Music Experience". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7100.

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The personality of musicians, artists, and other creative persons is of considerable interest to researchers and educators who seek to identify traits associated with musical behaviors. Personality traits can influence music behaviors such as instrument choice, ensemble choice, practice habits, and musical experience, which may contribute to continued music participation. The purpose of this study is to explore the relationships between personality type, music ensemble section, instrument choice (vocal or instrumental), and musical experience in college students and individuals who choose to continue participation after college. Few studies have concentrated on personality characteristics of ensemble members at the collegiate level and after formal education ceases. This is particularly relevant as personality characteristics may not be stable with age. This study examined the following questions: 1) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble choice (instrumental, vocal no musical ensemble participation) and gender?; and 2) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble section (e.g., brass, alto voice)? Participants were given a survey containing demographic questions and the Big Five Personality Inventory IPIP (Goldberg, 1992). Results showed that vocalists scored higher in Extroversion and Agreeableness compared to instrumentalists, and Instrumentalists scored higher in Neuroticism than vocalists. These results are consistent with previous research findings. This study has many implications for ensemble directors, such as rehearsal structure and repertoire choice. Music educators could also benefit from this knowledge when developing lesson plans and group assignments. Understanding different personality traits would also help ensemble members with communication within the ensemble.

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Royo, Johanna Lucia. "Self-Efficacy in Music Education Vocal Instruction: A Collective Case Study of Four Undergraduate Vocal Music Education Majors". Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/320010.

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While much research exists on self-efficacy in music programs, few research studies have qualitatively examined the impact of vocal performance settings on music education majors' self-efficacies and career goals. This collective case study examines the self-efficacy perceptions of four undergraduate vocal music education students in five vocal performance and rehearsal settings: (a) voice lessons, (b) studio classes, (c) choral rehearsals, (d) choral performances, and (e) juries. During a spring semester at a major university in the southwestern United States, I examined how participants' perceptions of their family backgrounds, career goals, lifestyles, peers, and student-teacher relationships influenced their vocal self-efficacy perceptions and music career goals. Data collection included observations, individual interviews with participants, and one focus group interview. Coding methods were used to analyze the interview transcripts and observation field notes. Triangulation, peer review, and member checks of transcriptions were used to ensure accuracy. Findings are documented case-by-case and as cross-case themes. I found that mastery experiences and family support during adolescence influenced participants' initial decisions to major in music but had little influence on vocal self-efficacy during the study. Secondly, self-efficacy changes noted throughout the study influenced participants' career goals. Other emergent themes included the role of memory, teacher feedback, concept comprehension and socialization. I conclude with cross-case themes and offer ideas for future self-efficacy research.

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Kim, Eun Jew. "Inclusive music education in the Republic of Korea: policies and adaptive instruction for general educators of primary school students with disabilities". Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/690.

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The purposes of this study were to research the current inclusive practices in primary school music education in the Republic of Korea (ROK), identify issues that hamper optimal inclusion, and develop instructional strategies and recommendations to assist general educators in the accommodation of students with disabilities in their music classes. Analyses of public documents from the government of the ROK reveal that since the enactment of the Special Education Promotion Law (1977), there has been an increase in the number of students with disabilities educated inclusively. The current curricular requirements of the universities of education regarding general educators' music instruction and special education are limited. Furthermore, the government-mandated "Seventh Music Curriculum" (used in every ROK primary school) indicated no accommodation for use with students who have disabilities. Consequently, primary school general educators, while often expected to provide inclusive music instruction, have little preparation or resources available to assist them in making appropriate instructional modifications. Because of the limited pedagogical or research information available within the ROK, additional information regarding the accommodation of students with disabilities was obtained from special education and music education resources in the United States. These resources provided the basis for pedagogical strategies developed for adapted lesson plans for grades three through six. As these findings suggest, initiatives such as improved pre-service and in-service training are needed to prepare general educators in effective instructional methods and accommodations for inclusive music education. In-service training for such teachers could possibly be provided by music therapists if the therapists are fully conversant with the instructional difficulties faced by the teachers. The current development of the Eighth Curriculum by the South Korean government provides an excellent opportunity to include information on students with disabilities within the teacher's manuals. Additional resource materials for the teachers would also be beneficial. Future studies are needed regarding teacher competencies, pre-service preparation, in-service training, and needs assessment regarding inclusive music education.

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

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

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

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

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

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D'Alton, John Patrick. "Edward Johnson and music education in Canada". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ27491.pdf.

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Kim, Yŏng-suk. "The artist-teacher as college music educator /". Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396155.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 217-220).

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Akapelwa, Emma Ziweyi Mwangala. "Problems of music education : a comparative study". Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336035.

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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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Betts, Steven Lee. "Lynn Freeman Olson's contributions to music education /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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Wallbaum, Christopher. "Summary comparing normative constellations in music education". Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34646.

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This summary connects parts of nearly every chapter of the book with a thick brush regarding normative constellations. Comparing the constellations shows both, how practices within lessons are normatively connected with practices in other social fields, and that there are fractures that show a need for further research. In conclusion I sketch a model for comparative praxial music education.

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