Rozprawy doktorskie: „Music training”

1

Sairanen, Anna Pauliina. "Mental training in opera". Thesis, Stockholms konstnärliga högskola, Operahögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-623.

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I started thinking about mental training in singing quite late in my studies. I had many problems with my nerves when I was at the beginningof my professional studies. I remember having a course for three months that was called ”Performancetraining”. When I look back the only thing I remember from that course is what not to do and getting even more nervous when walking on the stage. I remember thinking that I cannotdo this, I will never be a good singer. I have luckily had good singing teachers who have had a lot of time, understanding, commitment and compassion towards me. I have managed to control my nerves and learned to love to perform.What happens if a singingteacher cannotsolve these problems? I myself have studied to be a singing teacher and during my studies I have never faced the challenge to solve these kinds of difficulties. It requires a good understanding in the human psyche to train people to reach their very best and to overcome traumas that prevents us to perform on our best. It takes a whole village to raise a child, as the saying goes. So why should the training of the voice, becoming a great individual performer and artist, rely on the shoulder of the singing teacher? When I think about the singing lessons, shouldn ́t most of the time be spend on training the voice, exercising the muscles that help us to sing? Have you ever heard a football player going to the practise and spending 50% of that timein solving problems they have faced? Probablynot. I’m notsaying that football players don’t have problems they feel are holding them back in playing football and performing at their best. They just have another time and place to fix these problems. Thiswork happens with the mental trainer.

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2

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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3

Kirchhubel, Julie, i n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training". Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.

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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.

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4

Kirchhubel, Julie. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367185.

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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Cognition, Language and Special Education
Faculty of Education
Full Text

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5

Herbst, Anna Catharina. "Didactical perspectives of aural training". Thesis, Stellenbosch : Stellenbosch University, 1993. http://hdl.handle.net/10019.1/57896.

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Thesis (PhD) -- Stellenbosch University, 1993.
ENGLISH ABSTRACT: The purpose of this research endeavour is to develop an understanding of the general state of Aural Training as presented in Aural Training literature and at a tertiary level. Based on this understanding, recommendations for a theory towards Aural Training are furthermore made. The investigation consists of three main parts. In the first two parts, an in-depth theoretical study, exploring aspects such as the rationale behind Aural Training, teaching ideologies, contents and target group and methodological approaches found in published and unpublished sources, as well as a practical questionnaire-based survey, investigating selected Aural Training aspects as presented on a tertiary level in the Republic of South Africa (RSA), the Federal Republic of Germany (FRG), and the United States of America (USA) are presented. A model of an integrated Aural Training approach for children is proposed in the third part. Results from both the theoretical and practical surveys indicate that: (a) the rationale behind Aural Training has not been thoroughly thought through; (b) Aural Training lecturers with sound pedagogical credentials are needed; (c) prospective students are not prepared for their tertiary Aural Training courses; (d) the Aural Training curricula at most tertiary music institutions do not meet lecturers' expectations; (e) more instruction time is needed for classes scheduled in both individual and group tuition; (f) Aural Training literature and teaching methods are still influenced by the Behaviouristic school of psychological thinking, with its emphasis on drill and practice; (g) methods such as Sight Singing and Dictation are more frequently applied than others, possibly because they are readily quantifiable; (h) most emphasis is placed on tonal music; (i) research results in which holistic approaches to Aural Training have been recommended since the early 1980s are not reflected in the majority of Aural Training work-/textbooks and teaching methods; (j) commercially available software is often chosen because of its availability and not because of being based on sound pedagogical principles; (k) there is a growing interest amongst lecturers to re-examine the goals of Aural Training and to apply music psychological principles. Because of the already mentioned problem of improperly prepared prospective music students" and the scarcity of Aural Training approaches to develop children's musical consciousnesses, a model for integrating' Aural Training into the instrumental/vocal music lesson through composition is proposed. This model is based entirely on (a) the conviction that most effective learning takes place through active involvement and creation, and (b) music psychological principles such as Gestalt perception, the developmental theories of Piaget, Gardner and Swanwick-Tillman, and the musical thinking process theories of Prince and Webster. Through the application of this model, Aural Training can be approached by dealing with wholes within a musical context. Structural and perceptual thinking, as well as the mental principles of exploring, applying, problem-solving and critical reasoning can also be developed. It offers a comprehensive approach to learning written theory skills, and the opportunity to apply all other Aural Training methods. Examples of children's compositions are presented to support this model. It is finally recommended that: (a) Aural Training lecturers should constantly re-examine their objectives, contents, teaching philosophies and methods applied; (b) advanced courses in Aural Training should be offered at all tertiary music institutions in order to meet the need for adequately trained lecturers; (c) a compulsory course on the didactics of Aural Training should be offered for all music students; (d) more instruction time should be made available for Aural Training; (e) Aural Training should be treated in its own right in grading policies; (f) holistic approaches to both classroom-based and programmed Aural Training should replace drill and practice; (g) music from all style periods should be included; (h) a wide spectrum of Aural Training methods should be incorporated and not mainly Sight Singing and Dictation; (i) lecturers should inform themselves about recent research results and try to incorporate these into their Aural Training curricula and syllabi; g) Work-/textbooks and computer software based on holistic and comprehensive approaches to Aural Training should be released; (k) Aural Training should be incorporated from the very first instrumental/vocal lesson by applying an integrated, holistic approach through composition.
AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om 'n ondersoek te loods na die algemene stand van gehooropleiding soos daargestel in musiekliteratuur, en soos aangebied aan tersiere musiekinstansies: 'n Model vir gelntegreerde gehooropleiding word ten slotte voorgestel aan hand van hierdie inligting. Die inhoud van die ondersoek is in drie hoofdele georganiseer. In die eerste deel word In teoretiese ondersoek geloods na die redes vir, en doelstellings van gehooropleiding, onderrigfilosojiee, inhoud en teikengroep, en metodiese benaderingswyses. Die mate waarin hierdie aspekte, soos gevind in gepubliseerde en ongepubliseerde bronne, neerslag gevind het in tersiere gehooropleidingsprogramme in die Republiek van Suid-Afrika, die Federale Republiek van Duitsland en die Verenigde State van Amerika, vorm die kern van die vraelys-gebaseerde tweede deel. 'n Model vir gelntegreerde gehooropleiding met kinders word in die derde deel voorgestel. Resultate van beide die teoretiese en praktiese ondersoeke toon dat: (a) die redes vir, en doelstellings van gehooropleiding nog nie goed deurdink is nie; (b) spesiaal geskoolde gehooropleidingsdosente benodig word; (c) voornemende musiekstudente nie voorbereid vir tersiere gehooropleidingskursusse is nie; (d) die gehooropleidingskurrikula nie aandie vereistes van die meeste gehooropleidingsdosente voldoen nie; (e) meer onderrigtyd benodig word vir gehooropleiding, wat in beide individuele en groepsonderrig plaas behoort te vind; (f) gehooropleidingsmetodes steeds sterk belnvloed word deur die Behavioristiese skool van musiekpsigologiese denke waarin dril en herhaling beklemtoon word; (g) bladsang en diktee voorkeur geniet bo ander metodes, waarskynlik as gevolg van die feit dat studente se antwoorde makliker gekwantifiseer kan word as in ander metodes; (h) tonale musiek meestal beklemtoon word; (i) navorsingresultate waarin holistiese benaderingswyses tot gehooropleiding sedert die begin van die 1980's aanbeveel word, min tot geen invloed op die meerderheid gehooropleidingsteksboeke en -metodes gehad het; g) kommersieel beskikbare rekenaarprogramme dikwels gekies word op grond van beskikbaarheid en nie op grond van pedagogiese doelstellings nie; (k) daar 'n toenemende geinteresseerdheid onder dosente is om die doelstelling van gehooropleiding te re-evaIueer, en om musiekpsigologiese beginsels in gehooropleiding te inkorporeer. Vanwee die reeds genoemde probleemvan onvoorbereide voornemende musiekstudente wat gehooropleiding betref en die skaarsheid aan gehooropleidingsprogramme vir kinders, is 'n model vir die integrering van gehooropleiding deur middel van komposisie in die instrumentale en/of sangles voorgestel. Hierdie model is gebaseer op (a) die oortuiging dat die mees effektiewe vorm van leer plaasvind d.m. v. aktiewe betrokkenheid en skepping; en (b) die musiekpsigologiese beginsels van Gestalt-waameming, die ontwikkelingsteoriee van Piaget, Gardner en Swanwick- Tillman, en musikale denkprosesteoriee van Prince en Webster. Deur middel van hierdie model kan gehooropleiding benader word vanuit 'n holistiese oogpunt deurdat gehele binne 'n musikale konteks behandel word. Daardeur word nie net strukturele en persepsuele denke ontwikkel nie, maar ook verstandelike denkprosesse soos ontdekking, aanwending, probleemoplossing en kritiese denke. Dit bied ook die geleentheid vir 'n geheelbenadering tot die aanleer van musiekteoretiese kennis en skryfvaardighede, en die inkorporering van aIle ander gehooropleidingsmetodes. Voorbeelde van kinders se komposisies is ingesluit as bewys daarvoor dat dit weI in die praktyk toepasbaar is. Ten slotte word aanbeveel dat: (a) gehooropleidingsdosente hulle doelstellings, onderrigfilosofiee en -metodes voortdurend krities moet betrag en ondersoek; (b) gevorderde kursusse in gehooropleiding aan alle tersiere musiekinstansies aangebied behoort te word om sodoende te voorsien in die nood van onvoldoende geskoolde,dosente; (c) alle studente verplig moet word om 'n kursus in gehooropleidingsdidaktiek te volg; (d) meer onderrrigtyd ingeruim behoort te word vir gehooropleiding; (e) gehooropleiding as 'n vak in eie reg behandel moet word by puntetoekennings; (t) metodes van 001 en herhaling met holistiese benaderingswyses tot gehooropleiding in beide klaskamergebaseerde en geprogrammeerde onderrig vervang moet word; (g) musiek van alle stylperiodes ingesluit behoort te word; (h) 'n wye spektrum van gehooropleidingsmetodes aangewend moet word en me slegs bladsang en diktee me; (i) gehooropleidingsdosente hulself voortdurend op hoogte van die nuutste navorsingsresul-tate behoort'te hou en moet poog om hierdie resultate in hulle gehooropleidingsprogramme te integreer; g) gehooropleidingsboeke en rekenaarprogramme wat op holistiese en kontekstuele benaderings tot gehooropleiding gebaseer is, gepubliseer moet word; (k) gehooropleiding vanaf die eerste instrumentale en/of sangles gei'ntegreer behoort te word deurdat die voorgestelde model van 'n holistiese benaderingswyse d.m. v. komposisie aangewend word.

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Milam, Kenneth Baker. "A music training program for Baptist church music leaders and pastors in Indonesia". Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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Cahoon, Laura Kay. "MUSIC THERAPY AND MULTICULTURAL COMPETENCE: A SURVEY OF MUSIC THERAPISTS' TRAINING AND PERCEPTIONS". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/131.

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The changing demographics of the United States directly impacts the populations that music therapists serve. The American Music Therapy Association (AMTA) provides a list of competencies regarding race, culture, and diversity, but how these are addressed in the classroom is not standardized. The purpose of this study was to examine music therapists’ perceptions of their training in multicultural competence. The researcher emailed 7,539 board-certified music therapists, 631 of whom completed the survey. Results indicated that 55.6% of music therapists think that multicultural competence is important, and the majority said that they felt prepared to demonstrate multicultural competence after completion of an undergraduate/equivalency music therapy program. Chi square analyses showed no significant associations between ratings of importance and gender or race/ethnicity. Results also indicated that classroom instruction was the most common way the competencies were addressed in undergraduate/equivalency programs. Qualitative analysis of how participants thought they could be better prepared revealed four themes: music skills, curricular integration, experience, and classroom activities.

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Fleming-DeBerger, Rachelle. "Guidelines and Criteria to Assess Singing and Music Training in Baccalaureate Music Theater Programs". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/688.

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Within the last twenty years there have been a growing number of prospective students interested in pursuing musical theater (MT) training in colleges and universities throughout the United States. To meet this demand, the number of schools offering baccalaureate MT degrees has also grown. However, information on how to assess the music and singing training of undergraduate MT programs is not easily accessible to prospective undergraduate students. This is likely due to the fact that colleges and universities have only begun offering degrees in MT since 1970. Research-based information in this area is primarily found in peer-reviewed journals or by attending workshops presented by a few pedagogues specializing in MT vocal methods and techniques. The purpose of this essay is to develop criteria for assessing the singing and music training in MT baccalaureate degree programs that would be useful for prospective MT students, based on the current literature.

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Theron, Talita. "Music therapy in South Africa music therapists' perceptions of training needs for current practice /". Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.

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Hastings, Jennifer M. "Bilateral arm training with rhythmic auditory cueing : rehabilitation metts music therapy". Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/781.

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The purpose of this study was to examine the effect of rhythmic auditory cueing on Bilateral Arm Training on movement accuracy and speed for survivors of stroke. Three participants underwent a six-week home training of drum playing in repetitive reaching movements, practicing for three hours a week. They were randomly assigned to the treatment group (Bilateral Arm Training with Rhythmic Auditory Cueing; n = 2) and control group (Bilateral Arm Training only; n= 1). Assessments of the Wolf Motor Function Test (WMFT), tempo velocity, and spatial accuracy were performed at pre-, mid-, and post-training. All participants showed decreases in task performance times on the WMFT and improvements on the Functional Ability Scale, along with increased spatial accuracy. The treatment group maintained tempo velocity throughout the training but the non-cued participant moved slower at post- than at pre- and mid-assessment. Qualitative observations showed that the auditory-cued participants improved in movement quality through increased spatial alignment of the trunk and extension of the paretic arm, whereas the non-cued participant did not. Recommendations for future study as well as for designing home-training programs are given.

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Hurry, Pamela Susan. "A critical study of A-Level music and its relationship with higher education and the music industry". Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309951.

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Clark, Terry William. "Mental skills in music : investigating use, ability, and training". Thesis, Royal College of Music, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576934.

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Eigelaar, Mari. "Music therapists' experiences of developing clinical musicianship during training". Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/50896.

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This qualitative research study explored six music therapists’ experiences of developing clinical musicianship skills during the music therapy Masters training program at the University of Pretoria. The study was particularly concerned with the influence of previous music training and experiences on the development of clinical musicianship skills; how the development of clinical musicianship skills influenced participants’ musical identities; and how the development of clinical musicianship skills influenced participants’ experiences and use of music in non-clinical settings. The sample was selected from registered music therapists who completed their training in 2011 and 2013 at the University of Pretoria. Semi-structured interviews were conducted. The interview transcriptions were then analysed by means of thematic analysis. Three themes were drawn from the data: pre-training, training, and post-training. Participants described their definition of clinical musicianship skills as well as what learning clinical musicianship skills entail. Their experiences of developing clinical musicianship included new experiences; valuable experiences; easier learning experiences; uncertainties and incompetence; growth and development; challenges with regard to instrumental skills, improvisation, and working with clients; and means of dealing with challenges. Data analysis revealed aspects of participants’ musical training and experiences prior to the music therapy course that were both helpful and hindering to their development of clinical musicianship. Participants also commented on the contrasts between previous musical training and experiences and their experiences in music therapy training. With regard to the influence that the music therapy training had on participants’ musical identities, changes included: development to identity as musician, music therapy adding to facets of musical identity, and other musical identities being informed by the training. Data analysis further revealed that the development of clinical musicianship skills informed participants’ use and experiences of music in non-clinical settings in that it influenced their relationships in general, changed their perceptions and experiences of music, and influenced their approach towards musicing.
Mini-dissertation (Mmus)--University of Pretoria, 2015.
tm2015
Music
Mmus
Unrestricted

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Davis, Trevor E. "The Training of Jazz and Popular Styles in Multiple Woodwind Degree Programs". Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261377.

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I. Solo Recital: Saturday, November 1, 2014, 5:30 p.m., Organ Hall. Three Pieces, Op. 30 (Max Laurischkus); Concerto for Clarinet (Henri Tomasi); Carnival of Venice (Paul JeanJean); Press Release (David Lang).

II. Solo Recital: Friday, April 17, 2015, 7:30 p.m., Recital Hall. Fantasy-Ballet (Jules Mazellier); Concertino, Op. 15 (Jeanine Rueff); Klezmer Rhapsody (Paul Steinberg); Quirk for bass clarinet and computer (Eric Honour); Clarinet Concerto (John Veale).

III. Solo Recital: Saturday, March 19, 2016, 1:30 p.m., Organ Hall. Clarinet Concerto in A Major, K. 622 (Wolfgang Amadeus Mozart); Bucolique for Clarinet and Piano (Eugene Bozza); Pastorale (Souvenirs du Frög) (Daniel Dorff); Industrial Strength for Bass Clarinet and Piano (Kenji Bunch).

IV. D.M.A. Research Project. THE TRAINING OF JAZZ AND POPULAR STYLES IN MULTIPLE WOODWIND DEGREE PROGRAMS, (2017).

This project attempts to determine if graduate students in multiple woodwind degree programs are provided adequate access to jazz training or performance opportunities as part of the degree program. To meet the professional expectations in the field, multiple woodwind instrumentalists not only need to be able to play several woodwind instruments well, but also in a wide range of styles. In particular, players must be literate in jazz performance styles, primarily to be able to play in swing or big band style but also, occasionally, to improvise.

Degree requirements that were available online from twenty-four universities that offer a graduate degree in multiple woodwinds were examined, in addition to the background and areas of expertise of some of the woodwind faculty. Interviews were conducted of four woodwind doublers who have played in pit orchestras for Broadway-type shows to learn how they became qualified for that work. In all cases, no identifying information of the players and university programs were shared in the reporting of this study.

University websites tend to outline only partially the curricular requirements of the Master’s level multiple woodwind degree, but it was determined that jazz saxophone is not consistently included as part of the multiple woodwind curriculum. Those interviewed all emphasized that the ability to perform in multiple styles and to perform adequately the stylistic interpretation of written notation in a convincing jazz style is an essential expectation of those jobs. Interviewees recalled that little to no jazz training was accessible in their Master’s degrees, and those who were most successful playing in a jazz style had previous access to jazz performance opportunities in their undergraduate degrees. Transcripts of the four interviews are provided as an appendix.

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Rush, Mark Alan. "An Experimental Investigation of the Effectiveness of Training on Absolute Pitch in Adult Musicians". Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1216931520.

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Gerber, Casey Lynn. "Ear training and music reading methods used by Philip C. Hayden : music literacy through rhythm forms /". Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850417161&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279215869&clientId=22256.

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Thesis (Ph.D.)--University of Mississippi, 2008.
Typescript. Vita. "May 2008." Major professor: Alan L. Spurgeon Includes bibliographical references (leaves102-113). Also available online via ProQuest to authorized users.

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Ho, Wai Chung. "Hong Kong secondary music education : a sociological enquiry". Thesis, University College London (University of London), 1996. http://discovery.ucl.ac.uk/10020263/.

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The thesis intends to explore struggles over the content of musical knowledge and musical meaning within the music education system, in relation to overall social political change. The research focuses on music education in Hong Kong, with reference to the transfer of Hong Kong's political sovereignty from the United Kingdom of Great Britain to the People's Republic of China in 1997. Part One (Socio-political and cultural heritage) traces the interrelationship between China, Britain and Hong Kong in the content of Hong Kong music education during the period of British administration. This includes the following: Chapter One introduces the research problem, theoretical orientation and main argument of the thesis. Chapter Two examines patterns of the historical context of Imperial China, modern China and colonial Hong Kong music education. Chapter Three is an analysis of the rise of Hong Kong indigenous popular and serious (classical) music outside the school environment. Part Two (Impact of the 1984 and 1989 political events) describes the significance of these two events on Hong Kong music education. This includes the following: Chapter Four is a comparison between formal Hong Kong music education, the changing socio-political configuration and other social institutions under the influence of the 1989 Tiananmen Square 3 Incident. Chaptet: .five is a comparison between music education and other parts of the education system in Hong Kong as a consequence of the 1989 Tiananmen Square Incident. Part Three (Tensions of Hong Kong music education) highlights the dilemmas of Hong Kong music education. This includes the following: Chapter Six focuses on the struggles of Hong Kong music education within the socio-political, cultural and economic arenas. Chapter Seven is an investigation of music teachers' opinions about Hong Kong secondary music education. Part Four (Music as a social construction) is the conclusion of the thesis in Chapter Eight which reviews the patterns of Hong Kong music education by treating music as a socio-political construction, and attempts to apply the broader implications of the thesis.

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Van, Hook Colin. "The Relationship Between Instrumental Music Training and Corpus Callosum Growth". Thesis, Boston College, 2004. http://hdl.handle.net/2345/467.

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Thesis advisor: Ellen Winner
Recent studies have shown differences between several structures in the brains of professional level musicians and non-musicians. Professional musicians form an ideal group to study changes in the human brain due to the unique abilities required of them. Since many musicians begin training at a young age, it is assumed that these differences are attributable to intense, early experience brought on by the cognitive and motor demands of music training. However, it remains to be seen whether these structural differences are due to changes brought on by experience or preexisting ones which draw children to music lessons. Using magnetic resonance images, I compared the size of the corpus callosums in two groups of children who ranged between the ages of five and seven, one just beginning music lessons and another not beginning music lessons. I also compared the groups in terms of their performance on a finger tapping test for differences in speed and accuracy. A second set of comparisons of callosal size was conducted between nine-to-eleven-year-olds who had been taking music lessons for at least a year and those who had not. Differences in the five-to-seven-year-olds were seen in the anterior corpus callosum corrected for brain volume between the musician and non-musician groups. Differences in accuracy of finger tapping were seen between the musicians and non musicians, as well as between those in the musician group who had received less than sixteen or twenty-five weeks of training versus those who had received less. These findings indicate that while musicians start out with at least one slightly larger measure of corpus callosum size, differences in finger skill tend to develop slowly
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Psychology
Discipline: College Honors Program

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Kemper, Keisha L. "The Effects of Music on Perceived Exertion During Resistance Training". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1267556688.

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Needham-Beck, Sarah. "Cardiorespiratory fitness in contemporary dance training and performance". Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/18150/.

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This PhD thesis presents a thorough investigation of the relevance and importance of cardiorespiratory fitness in contemporary dance training and performance. Through an initial introduction and literature review, gaps in the current understanding of, and challenges presented by, dance training and performance practices are highlighted, as are five commonly presented conclusions of previous research. Firstly, it is often stated that dance activity predominantly consists of intermittent work periods of varying intensities, secondly that significant differences exist in the cardiorespiratory demands of class, rehearsal, and performance, thirdly that class and rehearsal intensity is insufficient to elicit an aerobic training response, fourth that the aerobic capacity of dancers is relatively low, and, lastly that high injury rates in dancers are often attributed to fatigue and overwork. However methodological limitations of previous research put into question the accuracy and validity of these statements. In order to develop understanding and overcome some of these limitations, five research studies were designed as extensions and enhancements of previous studies in this area. Three aims of the PhD were stated: 1) to investigate cardiorespiratory demands of contemporary dance performance repertoire, 2) to investigate cardiorespiratory adaptation to contemporary dance training and performance, and 3) to critically appraise methods commonly used in physiological investigation into dance and propose recommendations for future research. The main findings are that cardiorespiratory adaptation in relation to dance training and performance is highly specific and only detected through relative change in the demand of dance activity itself. Findings suggest that measures of cardiorespiratory fitness related to aerobic capacity (VO2peak) and anaerobic threshold do not change over time and are not correlated to dance performance competence. It is emphasised throughout that current methodological limitations restrict our ability to accurately document the relative cardiorespiratory demands of dance performance and change in these across a period of extended training and/or performance. The highly varied nature of contemporary dance performance is discussed throughout, including fluctuations in demand experienced by individuals, and it is emphasised that this needs to be taken into consideration in future research. Potential implications of findings from the perspective of both the researcher and the dance educator are postulated as are the contributions made to the knowledge base.

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Bolanis, Susan Loehrke. "Children's responses to live musical performance by an ensemble without, then with pedagogical training". [S.l. : s.n.], 1996. http://catalog.hathitrust.org/api/volumes/oclc/53916456.html.

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

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Young, Susan. "Young children's spontaneous instrumental music-making in nursery settings". Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368827.

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DeBeus, Roger J. (Roger John). "The Effects of Music Training on Electroencephalographic Coherence of Preschool Children". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278071/.

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The purpose of this study was to examine the effects of music training on electroencephalographic (EEG) coherence of preschool children. EEG coherence is a measurement of brain wave activity that reflects anatomical and neurophysiological parameters and functional connectivity between areas of the brain. Participants were 4- to 6-year-old children divided into two groups: one received music training for 20 minutes twice a week for 10 weeks while the other group served as controls. Nineteen channels of EEG data were collected from each child pre- and post-training. Data were collected from three conditions: eyes-open resting, listening to music, and performing the Object Assembly subtest of the Weschler Preschool and Primary Scale of Intelligence - Revised (1989). The hypothesis was that the music training group would show increased EEG coherence as compared to controls. The EEG data was reduced into seven bandwidths and analyzed separately for each condition. Multiple ANCOVAs were used to factor out pre-test variability and to maximize connectivity changes between the two groups. The dependent measures were the post-QEEG electrode pairs and the covariates were the pre-QEEG electrode pairs. Results indicated the eyes-open and listening to music conditions showed more significant changes between the groups than the Object Assembly condition. Overall, each condition showed increased connectivity for the music training group versus controls. The eyes-open condition differentiated children with and without music training during a resting condition, and showed similar patterns as those identified by other researchers comparing musicians versus nonmusicians. The listening to music condition identified connections including a topographical pattern of auditory analysis, increased working memory activation, increased activity between musically sensitive areas, and increased interhemispheric activity. Findings with the Object Assembly condition were not as robust as expected. However, patterns of increased connectivity associated with visuospatial processing were found with the music training group.

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Cheston, Sharon Brown. "Relationships among harmonic complexity preference, musical training and experience, and music aptitude in high school music students". Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1057865886.

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Flolu, Emmanuel James. "Re-tuning music education in Ghana : a study of cultural influences and musical development, and of the dilemma confronting Ghanaian school music teachers". Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/14045/.

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Crocco, Laura. "A Systematic Approach to One-to-One Classical Singing Training in Higher Education". Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18340.

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Classical singers undertake years of training to perform at a professional level according to musical style and performance type. High physical and emotional performance demands placed on this subgroup of professional voice users suggests that optimal skill acquisition is essential during their training. The training of classical singers is acknowledged as an area that traditionally and characteristically relies on anecdotal evidence, due to the little systematic and scientific research in the field. Research using scientific methods to structure and conceptualise teaching practices is therefore warranted to improve and encourage autonomy of learning. This thesis investigated one way the training of classical singers in higher music education might be improved. A systematic review confirms that no complete evidence-based framework for classical singing training has been established, and that higher quality, rigorous research is needed. A pilot study reliably uses the principles of motor learning to more objectively identify teaching behaviours in one-to-one lessons, suggests methods of improvement, and highlights areas in need of further research. Primary results indicated uncommon use of motivation, explanation, and perceptual training variables, and common use of instruction, feedback, modelling, and other variables by teachers. Collectively, the research presented in this thesis has provided scientific evidence for the nature of teaching and learning in classical singing training, and tested a systematic method of identifying current teaching practices. The thesis encourages a nexus between empirical research, teaching quality, and learning outcomes in this field, argues the need of an evidence-based teaching and learning framework and its implementation in higher music education; and begins a systematic investigation into one component of a framework that may identify best practices for classical singing teaching.

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Pinard-Welyczko, Kira. "Does Training Enhance Entraining? Musical Ability and Neural Signatures of Beat Perception". Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495617848085978.

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Nota, Charles. "In-service training models for music educators in Zimbabwe / Charles Nota". Thesis, North-West University, 2010. http://hdl.handle.net/10394/4099.

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This dissertation is the documentation of an investigation aimed at identifying a model(s) that meets the needs of music educators in Zimbabwe. Although the government of Zimbabwe stipulates that music should be part of the education curriculum in the country, it has become evident that the majority of schools do not comply with this requirement. The failure to teach music effectively in schools has been attributed to a variety of factors. Among them are the non-availability of a clear policy on cultural arts education and the fact that music is not examined at the end of a [earning phase such as Grade 7. However, this dissertation argues that the identified problems can be addressed through a model of professional development in the form of an in-service training programme. In-service training models such as the individually-guided, collaborative problem-solving and action research models were identified. These models were interrogated in an effort to establish which one has the potential to address most effectively the anticipated pedagogical content knowledge for music educators in Zimbabwe. Among several models selected for discussion in this dissertation, the training model has been identified as the most appropriate one. It is comprised of five components, namely; theory, demonstration, practise, feedback and coaching. Competence training for teachers in a skills-based subject like music is believed to be incomplete. However, many educators view the training model as a cycle that rolls towards the attainment of specific goals, hence continuous and reflective interaction promotes effective skill acquisition. Relevant information was gathered through document analysis, interviews and focus group discussions. The findings revealed that the majority of music educators in Zimbabwe have limited knowledge of both music content and pedagogy. In addition, the analysis of the data also revealed that all educators possess a professional qualification of some kind, but there is a lack of specialisation in Music. Apparently, lack of human and physical resources in Zimbabwe has also been indicated as a factor impacting on the delivery of music education in the country. The failure to teach music effectively in schools has been attributed to a variety of factors. Among them are the non-availability of a clear policy on cultural arts education and the fact that music is not examined at the end of a [earning phase such as Grade 7. However, this dissertation argues that the identified problems can be addressed through a model of professional development in the form of an in-service training programme. In-service training models such as the individually-guided, collaborative problem-solving and action research models were identified. These models were interrogated in an effort to establish which one has the potential to address most effectively the anticipated pedagogical content knowledge for music educators in Zimbabwe. Among several models selected for discussion in this dissertation, the training model has been identified as the most appropriate one. It is comprised of five components, namely; theory, demonstration, practise, feedback and coaching. Competence training for teachers in a skills-based subject like music is believed to be incomplete. However, many educators view the training model as a cycle that rolls towards the attainment of specific goals, hence continuous and reflective interaction promotes effective skill acquisition. Relevant information was gathered through document analysis, interviews and focus group discussions. The findings revealed that the majority of music educators in Zimbabwe have limited knowledge of both music content and pedagogy. In addition, the analysis of the data also revealed that all educators possess a professional qualification of some kind, but there is a lack of specialisation in Music. Apparently, lack of human and physical resources in Zimbabwe has also been indicated as a factor impacting on the delivery of music education in the country.
Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

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De, Villiers Ronel. "A teacher training framework for music education in the Foundation Phase". Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65434.

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Transformational changes have swept across the South African educational landscape in the post-apartheid era, and few disciplines have been as severely affected as music education (MusEd). The status of MusEd seems to have diminished while the government continually introduced modifications to national curricula, prompting Higher Education Institutions (HEIs) to scale down their MusEd teacher training operations. The focus on preparing specialist music teachers shifted towards the preparation of multitudes of generalist teachers lacking the required knowledge, skills and confidence to effectively teach MusEd for learners in the Foundation Phase (FP) at primary schools. The aim of the study is to determine how an effective teacher training framework for MusEd in the FP can be developed, and which key elements should be included in this endeavour. The research explores the various forces (contextual, institutional, biographical and programmatic) that influence Higher Education practices and programme content in the preparation of MusEd student teachers. The study achieves this aim through examining the perspectives of current MusEd lecturers on the teaching and learning methods and practical activities in MusEd programmes at their various HEIs, their experiences of push and pull forces in their working environments, and their reactions to transformational directives. Empirical data was obtained through interviews with lecturers and experts, and document analyses. The study finds that teacher training programmes will benefit when MusEd lecturers embrace and apply the principles of transformation and multiculturalism to their own programmes. Elements of the Western Classical approach to MusEd may be retained but indigenous African and global perspectives need to be integrated and advanced, which will promote MusEd as a developer of social cohesion and an agent for redressing imbalances of the political past. Theoretical music knowledge needs to be integrated with practical activities to cultivate a communal sense of students and learners "musicing" together. Recommendations for further studies include investigations into improvements in future MusEd environments, and collaborative efforts to raise the profile of MusEd.
Thesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
Unrestricted

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Winter, Neal, i n/a. "A study of music performance assessment : the effects of training and experience on criteria used by music examiners". University of Canberra. Education, 1991. http://erl.canberra.edu.au./public/adt-AUC20061110.163509.

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Music is both an art and a science involving emotional appreciation and intellectual understanding. When music performances are assessed, appropriate criteria should be used by examiners who appreciate the art and understand the science. This study examined the effects of training and experience on the judgements made by individuals who possessed an understanding of music performance (i.e. qualified musicians and music educators), from observations on videotape of three piano performances (by the same pianist). The thirty three participants were required to observe the videotape and complete a separate music performance assessment (MPA)sheet for each piece, and then rank the three pieces in order of preference. The MPA sheet contained (a) thirty three descriptive statements, under five headings, to which the examiner responded on a . six point Likert scale, and (b) a section for recording an overall impression mark, with provision for comment. There were four examiner categories: (1) untrained and inexperienced, (2) trained and inexperienced, (3) untrained and experienced, and (4) trained and experienced. The term 'experience' was applied to those participants who had previous involvement as examiners in any formal music performance assessment situation. The term 'trained' was applied to those participants who attended a short preparation course presented as part of the study. The responses of the four categories of examiner were tested for significant difference (.05 level) through the use of multivariate analysis of variance with repeated measures. One of the performances (piece 1) was recorded digitally by computer (using MIDI and the 'Vision' program) which provided a printout of what occurred during the performance. A comparison of the subjective analysis of the 'Vision' printout results with the examiner responses for piece 1, revealed that there was a link between the judgements made by examiners and the actual performance by the pianist. Results of the study indicate that (a) experience and training effects the criteria used by music examiners in the assessment of music performances, (b) training influenced the examiner responses more than experience, (c) in the 'best' performance, the effects of examiner training and experience were negligible, and (d) in the area of 'global' and 'specific' assessment of music performance, all examiners divorced the two approaches, however judgements of the untrained examiners were more obvious in their disparity. The results of this study suggest that the training a music examiner receives prior to the performance assessment session may be more important in producing consistent and accurate reports than the amount of previous examining experience. The criteria used by the music examiner should be clearly presented with appropriate dimensions for the musical instrument on which the student performs.

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Lynn-Seraphine, Pamela. "Neurodrumming| Towards an Integral Mental Fitness Training for Healthy Aging". Thesis, California Southern University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10195171.

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Humans as far back as ancient history have been leveraging the physiological and psychological benefits of drumming to enhance health, access higher states of consciousness, and cultivate shared optimal experiences. It is understandable that the applied practice of drumming is now starting to permeate into mental fitness training research as a healthy alternative toward cross training the brain. Extensive surveys conducted in the United States show that 60% of individuals who are in middle age and older complain about their memory. This translates to approximately 80 million Baby Boomers reaching the age of memory decline. Furthermore, according to the UCLA research, the main factors necessary for a healthy brain lifestyle and to combat memory decline are physical activity, social engagement, mental challenges, and unfamiliar stimuli. Neurodrumming has incorporated these findings into a therapeutic intervention that targets brain health, emotional health, stress management, and social engagement, all of which help to prevent cognitive decline, and promotes mental performance. This study offers a meta-theoretical exploration to determine the comprehensiveness of Neurodrumming as a therapeutic mental fitness intervention for healthy aging, by applying Integral Theory as an epistemological framework.

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Crouch, Lynnette. "Developing an electronic resource for Kwaito Music in the Further Education and Training (FET) band (Grades 10 - 12)". Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80337.

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Thesis (MPhil)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: Kwaito music, pronounced either as kwhy-toh, or quite-oh, is an indigenous South African music style which came into existence after the apartheid era was abolished. It was created by the black South African youth at the time when everyone was looking forward to embrace the new South Africa as well as a new music style. The people in the Gauteng ghetto/townships called it KWAITO after the Afrikaans isicamtho (slang) word "kwai" which means "good" or "hot." It also stems from the Afrikaans word 'kwaai" meaning "angry." It can also mean that "the guys are hot." Kwaito is a distinctly home-grown music style, reflecting life in South Africa in the local languages and urban slang. It also has its own style of dancing, speaking, dress code and performing. It includes kwaito genres ranging from guz (meaning to show a sign of affection for your fellow human beings) d'gong (meaning "out of control") and isgubhu "drum" to swaito (an improved term for kwaito). The music is basically dance music and the lyrics are in many cases unsubstantial or even nonsensible for example in the kwaito artist, Mandoza's song, Godoba, the words "Cyborg/Move your skeleton" are being repeated throughout the song. Kwaito is normally not sung, but chanted or spoken rhythmically over the music. Kwaito music has a very high impact on many young people's lives because many young kwaito music artists have become very rich almost overnight. Black youth see the kwaito trend as a way out of their poor existence within the townships/ghettos. This study aims to divert the focus from the kwaito lifestyle (clothing, glamour, materialism) and instead concentrates on the musical aspects thereof. Many classically trained musicians and music teachers frown upon the kwaito music style and regard it as being senseless, unsophisticated and of a lower quality than the popular music that they are used to listening to. As with all other South African music styles such as mbaqanga, kwela, Afrikaans music, township jazz, Kwaito music is introduced into the secondary school subject music curriculum for grades 10- 12. Many schools in South Africa have installed computer laboratories for effective teaching and learning to take place. Schools also have music keyboard laboratories where learners are taught to compose electronic computer music. In view of the fact that almost all learners are computer literate the author has designed this electronic resource with lesson plans for teachers to be used in the secondary school on kwaito music specifically. One lesson plan is an example where kwaito music is notated and used in a four part harmony exercise. This resource is not geared towards the marketing of kwaito as a music style but is geared to make it substantial to be used as lesson material for secondary school subject music. A further aim is to sensitise the more musically educated ear to the musical qualities of the kwaito music style because in many cases it is being ignored by both learners and educators. This study is based on literature studies, empirical study. A website on kwaito music is designed and developed which contains information on the history of kwaito, the cultural democracy of kwaito, various artists, recording and marketing thereof. Sample lesson plans are also developed as part of the resource.
AFRIKAANSE OPSOMMING: Kwaito musiek, uitgespreek as kwy-toh of kwaai-toh, is 'n inheemse Suid-Afrikaanse musiekstyl wat na die apartheid era tot stand gekom het. Dit was deur die swart Suid Afrikaanse jeug geskep in die tyd toe almal daarna uitgesien het na 'n nuwe Suid Afrika sowel as 'n nuwe musiekstyl. Mense in die agter-geblewe gemeenskappe (ghettos) van Gauteng het hierdie musiekstyl KWAITO genoem afgelei van die Afrikaans "isicamtho" (gemengde tale) woord 'kwai' wat 'goed' of 'warm' beteken. Dit hou ook verband met die Afrikaanse woord 'kwaai' wat 'kwaad' beteken. Daar word ook geinsinueer dat 'die ouens goed of warm voorkom.' Kwaito is 'n kenmerkende plaaslike musiekstyl wat die alledaagse bestaanslewe in Suid Afrika deur middel van plaaslike tale en stedelike spreektale weerspieel. Dit het sy eie dansstyl, manier van praat, klere-modes en verhoog optredes. Dit sluit kwaito style soos Guz (wat beteken om vir jou medemens om te gee), D'gong (om buite beheer te wees),isgubhu (trom) en Swaito ('n verbeterde vorm van kwaito) in. Die musiek is basies dansmusiek en die lirieke is baie keer oppervlakkig of dit maak in sommige gevalle selfs nie sin nie soos byvoorbeeld in die kwaito kunstenaar, Mandoza, se lied Godoba, word die woorde 'Cyborg, beweeg jou geraamte' aanhoudend herhaal. Kwaito word gewoonlik nie gesing nie, maar ge'rap' wat beteken dat die woorde ritmies met klankbegeleiding gese word. Kwaito het 'n baie groot invloed op baie jongmense se lewens aangesien heelwat van die jong kwaito kunstenaars feitlik oornag baie beroemd en skatryk geword het e Die jeug dit as 'n uitweg beskou om hulself uit hul ellende en armoede te verhef Die doel van hierdie studie is om die fokus vanaf die kwaito leefstyl (kleredrag, glans en materialisme) te skuif en liewer op die musikale aspekte daarvan te konsentreer. Heelwat musikante en musiek onderwysers wat in klassieke musiek geskool is,stel nie in hierdie musiekstyl belang nie omdat hulle dit as sinneloos, ongesofistikeerd en van 'n lae gehalte as die bekende populere musiek beskou. Kwaito musiek is net soos aile ander Suid- Afrikaanse musiekstyle soos mbaqanga, kwela, Afrikaanse musiek, Afrika jazz by die vakmusiek leerplan vir sekondere skole, ingesluit vir grade 10- 12. Heelwat skole het rekenaar laboratoriums geinstalleer om effektiewe onderrig en leer te verskaf. Verskeie skole het selfs musiek klawerbord laboratoriums waar leerders geleer word om elektroniese rekenaarmusiek te komponeer. Weens die feit dat amper aile leerders rekenaar geletterd is, het die skrywer hierdie elektroniese kwaito hulpbron met lesplanne vir sekondere skool musiekonderwysers ontwikkel. Een lesplan is 'n voorbeeld waar kwaito musiek genoteer is en in 'n vierstemmige harmonie oefening gebruik word. Hierdie hulpbron is geensins daarop gemik om kwaito as 'n musiekstyl te bemark nie, maar om dit substantief te maak as lesmateriaal vir sekondere skool gebruik. 'n Verdere doel is om die musikale oor vir kwaito klank sensitief te maak aangesien dit baie kere deur beide leerkragte en leerders geignoreer word. Hierdie studie is gebasseer op literatuurstudies en empiriese studie. 'n Webblad is ontwikkel wat inligting oor die geskiedenis van kwaito, die kulturele demokrasie van kwaito, verskeie kunstenaars, asook die klankopnames en bemarking daarvan. Lesplanvoorbeelde is ook ontwikkel as deel van die hulpbron.

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Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students". Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.

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The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition). Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group. All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.

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Sanyshyn, James Evan. "The role of Canadian music in the preparation of music specialists in British Columbia /". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30213.

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This study examined the role Canadian music plays in the preparation of secondary school music specialists in British Columbia. Programme content was explored through an analysis of course calendars, a review of student, faculty and guest recital repertoire, and interviews with post-secondary instructors and senior music education students. Fourteen music specialists completed a checklist in order to determine what Canadian materials are being used in the classroom. Follow-up interviews were conducted with three teachers to further explore the selection of teaching materials. An official from a local school board and a participant in the development of music curriculum documents were also interviewed to ascertain the value placed on Canadian music by local school boards and the Ministry of Education. Findings identified a need for increased Canadian content in all facets of post-secondary teacher training in order to expose secondary music specialists to available Canadian resources. Implications for further research are discussed.

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Mufute, Josphat. "The training of the non-specialist music teacher in Zimbabwe : a case study". Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/565.

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The focus of this study thus was to establish if the training of teachers at a particular teachers’ training college in Zimbabwe is equipping students as future teachers with the required competences to realise the aims and objectives of the Zimbabwe Primary Music Syllabus. This study follows on the above-mentioned initial small-scale investigation conducted in 2002, which revealed that teachers lacked the required competences to implement this particular syllabus effectively (Mufute, 2002:16).

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Gray, Tonya E. "The relationship between the undergraduate music methods class curriculum and the use of music in the clasrooms of in-service elementary teachers". Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1167794.

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The purpose of this study was to determine the relationship between the undergraduate music education methods class curriculum and the amount of time music concepts and activities were used each week in the classrooms of in-service elementary teachers. A secondary purpose was to determine the differences among in-service elementary teachers' use of music concepts and activities in their classrooms by selected background factors. Subjects (n=416) were randomly selected elementary classroom teachers from the states of Georgia (n=106), North Carolina (n=101), South Carolina (n=100), and West Virginia (n=109). A researcher-developed questionnaire was mailed to principals who distributed the questionnaire to the teachers and secured their return. The questionnaire explored background factors of the subjects, the degree to which they experienced 17 music activities and concepts in their undergraduate music methods class, and the frequency with which they used these activities and concepts in their own classrooms.A discriminant analysis procedure was utilized to determine whether the variable clusters considered simultaneously were significant predictors of the amount of time elementary classroom teachers' use music in their classroom (n = 297). Of the three variable cluster groupings, two were found to contribute uniquely to the definition of the discriminant function. Over 42% of the subjects were correctly classified into the amount of time they used music in their classrooms by simultaneously considering variable cluster I (participating in folk dances, singing games, or other motor movements; integrating music with other academic subjects; creating songs, rhythms, movements) and in variable cluster 3 (developing call charts for listening lessons; teaching lessons on a specific musical concept; practicing solfege for pitch discrimination; reading music notation and rhythms; playing musical recordings as background music; identifying names of instruments in the orchestra) (see Table 9). Also, significant differences (p <.05) were found between subjects by gender, participation in music ensembles in high school and college, participation in private music instruction in high school and college, and the inclusion of a music specialist; and among subjects by educational background, number of years taught, grade level taught, philosophical positions, and undergraduate music methods course requirements.
School of Music

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Weber, Bryce Matthew. "Training the communicative recitalist: exercises inspired by Sanford Meisner's repetition exercise". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3550.

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Original exercises based on the work of Sanford Meisner (as well as Viola Spolin, Jeffrey Agrell and others) are presented in a hypothetical voice studio to address truthfulness, point of view, and "reality of doing" on the vocal recital stage. The exercises present a way of addressing work on the "self" before work on the "role."

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39

Masko, Meganne Kathleen. "Music therapy and spiritual care in end-of-life: ethical and training issues identified by chaplains and music therapists". Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5021.

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The overarching purpose of this study was to explore the thoughts and attitudes of hospice chaplains and music therapists (MTs) related to the questions, "Is it appropriate for music therapists to provide spiritual care as part of the hospice team," "What kind of training and preparation do music therapists and chaplains think hospice music therapists should have before engaging in spiritual care work," and "What should the content be of spiritual care training for music therapists?" The study used a sequential exploratory qualitative/quantitative mixed methods design utilizing parallel purposive subject samples to examine the research questions. The first phase of the study included semi-structured interviews with eight music therapists and seven chaplains specializing in hospice care. These interviews were designed to collect in-depth information about the research questions. Each interview was recorded, transcribed, and analyzed using open coding within a grounded theory approach. Thematic analysis revealed the prevalence of the categories of "ethics" and "training." Participants discussed issues related to scope of practice, cultural competence, maintaining personal boundaries, educational content, and educational methods. Analysis of the data information also indicated the need to expand the research questions, which were examined with larger participant samples in the second phase of the study. Phase II of the study included the development and implementation of a survey tool to explore the results of Phase I with a larger group of participants. The following questions were used as the basis for the survey tool: 1) How appropriate do chaplains and music therapists feel it is for music therapists to provide spiritual care as part of the hospice team? 2) What is the scope of practice for music therapists with regards to providing spiritual care as part of the hospice team? 3) How important are specific aspects of cultural competence in providing ethically sound spiritual care to hospice patients? 4) How do music therapists' music selections for addressing spiritual goals reflect culturally competent practice? 5) What are the personal boundaries that should be maintained by music therapists in order to provide ethically sound spiritual care? 6) How do music therapists feel their personal spiritual beliefs influence their interactions with patients? 7) What types of previous spiritual care training do music therapists report completing? 8) What training topics do music therapists and chaplains feel music therapists should study in order to provide competent spiritual care? 9) What types of training methods do music therapists and chaplains think are most appropriate for music therapists wanting to learn more about spiritual care? 10) What, if any, differences exist between chaplains' and music therapists' responses to these research questions? A final sample of music therapists (n=48) and chaplains (n=44) completed the survey. Results indicated that the role of music therapists includes providing spiritual care as part of the hospice team. The spiritual care scope of practice for music therapists identified by survey participants included assisting with spiritual practices, experiencing God or a higher power, assisting with meditative practices, and assisting with guided imagery experiences. According to participants, music therapists should not lead religious rituals or ceremonies, nor should they conduct spiritual assessments. Music therapists felt that all aspects of cultural competence mentioned in the survey were important, especially selecting interventions that are reflective of patients' cultural and spiritual backgrounds. This was also reflected in the ways music therapists wrote about selecting music for use in addressing spiritual goals. Participants identified specific personal boundaries that should be maintained when providing spiritual care, including avoiding pushing one's personal beliefs onto a patient or family. Music therapists expressed a variety of opinions about how their personal beliefs affected their interactions with patients. These varied from "not at all" to "allows me to be open to others." Music therapists and chaplains expressed similarly varied responses to a question about the wearing of religious symbols when providing hospice services. Questions about spiritual care training methods and content revealed that music therapists were more likely to engage in on-the-job learning, or attend continuing education and conference presentations about spiritual care. Music therapists and chaplains also wrote about learning from patients, participating in group feedback sessions, and reading materials about spiritual care as ways to learn about spiritual care provision. Differences were seen between music therapists and chaplains on their understanding of the concept of "spirituality" and "spiritual care." There were also differences between the two groups on questions of the importance of knowing one's own background as a component of cultural competence, as well as the appropriateness of music therapists providing spiritual care/counseling.

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40

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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41

Karaseva, Marina V. "New Music and Ear Training. Groping for Way In – Widening Way Out". Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72049.

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42

Crollick, Jody Leigh. "Music and movement an investigation of the influence of formal music training and significant athletic experience on rhythmic perception /". [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010301.

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43

Toppozada, Manal R. "Multicultural training for music therapists : an examination of current issues based on a national survey of professional music therapists". Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2276.

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In the current environment of increasing cultural diversity, it appears vital that music therapists are trained to understand the issues involved in working with clients from different ethnic and cultural backgrounds. The purpose of this study was to examine professional music therapists' knowledge of and attitudes toward relevant multicultural issues. The study attempted to answer the question of whether there is in fact a need for multicultural training for music therapists, and if so, in what areas. A survey designed by the author was sent to 500 music therapists across the country, resulting in 298 usable responses. Analysis of the data revealed strong support for the underlying dimensions of multiculturalism, with weaker support for implementation of multicultural policies. Support for multiculturalism was correlated more strongly with attitude than with knowledge subscores. Data were also analyzed by age, gender, ethnicity, geographical location, and level of education. Significant differences in scores were found between respondents in the New England and the South Central regions of the country (p s .05). Significant differences in total and knowledge scores were found between respondents holding a Ph.D. and those with a Bachelor's degree. There were no significant differences between minority and majority culture groups. Females had consistently higher scores than males, but the differences were not significant. Also, with regard to age, results showed an improvement in attitude scores as age group increased. Results showed that 78.2% of respondents support multicultural training for music therapy students.

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44

Reimer, David Roy. "Violin performance training at collegiate schools of music and its relevance to the performing professions: a critique and recommendation". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054687230.

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45

Pierson, A. J. "The development of the use of microelectronics in music education in schools". Thesis, University of Nottingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320743.

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46

Drummond, Brendan. "The classroom music teacher - an uncertain profession? : the Northern Ireland perspective". Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267683.

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47

Sigler, Shitong Zhan. "A Survey of Literature on Entrepreneurial Experiences for Classical Musicians: Implications for Training Pianists". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619146165528988.

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48

Massey, Sara Miller. "The effects of auditory-motor mapping training on speech output of nonverbal elementary age students with autism spectrum disorder". Thesis, The University of North Carolina at Greensboro, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123641.

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The purpose of this study was to investigate the effect of auditory-motor mapping training (AMMT) on the speech output of nonverbal elementary age students with autism spectrum disorder (ASD). Auditory-motor mapping training facilitates the development of association between sounds and articulatory actions using intonation and bimanual drumming activities. This intervention purportedly stimulates neural networks that may be dysfunctional in persons with ASD.

Seven nonverbal children with a primary diagnosis of ASD participated in twelve 20-minute weekly sessions consisting of engagement with 15 predetermined target words through imitation, singing, and motor activity (all components of AMMT). Assessments were made at baseline, mid-point, and post AMMT intervention sessions. These probes were used to determine the effects of AMMT on expressive language abilities of speech output. A null hypothesis was tested to determine the significance of the independent variables of singing, showing visual cues, and drumming on the speech output of nonverbal children with ASD, age five through eight years (p ≤ .05). Additionally, effects of AMMT on children's development of social communication skills also were examined at the end of each intervention session.

Results of the study revealed no significant effect of the AMMT intervention on the speech output of elementary age children with ASD from the best baseline to probe one and probe two (p = .424), therefore the null hypothesis that there was no significant effect of auditory-motor mapping training (AMMT) on speech output of nonverbal elementary children with ASD was retained. Additionally, a comparison of the growth of the independent ‘High Five’ gesture from session one to session twelve yielded no statistical significant results (p > .05). The McNemar chi-square was used to compare this secondary AMMT effect from sessions two to eleven, and revealed a positive growth trend that approached a significant outcome associated with the children's social communication responses ( p =.063).

Although significant changes in the nonverbal children's speech output were not substantiated in this study, there were areas of growth for all children in this study that were highlighted through qualitative analysis and descriptive narratives. Confounding variables that possibly affected children's speech output and social communication development were addressed. Additionally, recommendations were made for future research involving music as a vehicle for speech development for nonverbal elementary age children with ASD.

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Sa, Vienna. "The effect of Music Attention Control Training (MACT) for pre-adolescents with Autism Spectrum Disorder". Scholarly Commons, 2020. https://scholarlycommons.pacific.edu/uop_etds/3666.

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The purposes of this study are to investigate the effect of the Music Attention Control Training (MACT) on three types of attention (sustained, selective, switching) in pre-adolescents (10-14 years old) with Autism Spectrum Disorder (ASD) and to identify the impact of the level of severity (mild, moderate, severe) on changes in attention scores. This modified replication study included 23 participants randomly assigned to treatment and control group stratified based on severity of ASD. Significant results via two-tailed paired-sample t-test (p< .10) indicated significant positive trends with the treatment group for the 3 out of 4 subtests of selective attention: Hector Cancellation, Hector-B Cancellation, and Hecuba Visual Search; 1 out of 4 subtests of sustained attention: Sustained Attention Response Test (SART); and the single subtest of switching attention: Red & Blues, Bags & Shoes (RBBS). Results call for modifications to further support the role of MACT on attention skills with pre-adolescents with ASD. Implications for future research and contributions to clinical practices in music therapy are discussed.

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50

McNeil, Alison Fiona. "Aural skills and the performing musician : function, training and assessment". Thesis, University of Huddersfield, 2000. http://eprints.hud.ac.uk/id/eprint/4749/.

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