Dissertations / Theses: 'Benefits of music lessons'

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Harrison, Joan. "Musical Citizens: String Teachers' Perceptions of Citizenship Education in the Private Studio." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23783.

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This quantitative study explores string teachers’ perceptions of citizenship education and its use in the private lesson. Guided by Westheimer and Kahne’s (2004) model of citizenship education the study sought to identify (a) how private string teachers perceive citizenship education, and (b) the factors that influence these perceptions. Four hundred and fifteen (415) members of the American String Teachers Association (ASTA) participated in this study by completing an on-line survey that contained both closed and open-ended questions. The resulting data was coded and organized according to the survey questions and the conceptual framework. Research findings revealed that, although teachers did not explicitly consider citizenship education a part of their lessons, their intentions and their report on pedagogical practices could be described as citizenship education when viewed through the conceptual framework used in the study. Indeed, nearly all of the participant responses revealed intentions to include attributes of what Westheimer and Kahne refer to as the Personally Responsible Citizen in their music lessons with students. Educating for traits of other types of citizenship was also reported. Factors deemed influential in string teachers’ perceptions of citizenship education included the following: If the teachers had earned certification in Suzuki pedagogy; the number of years of teaching experience; if teachers self-identified as primarily educators, performers, or both; the age of the students who are taught. Additionally, the study addresses teachers’ statements about the use of competitions, dialogue in lessons, and general attitudes about the appropriateness of citizenship education in several different learning environments. The study findings add to a small but growing body of research that furthers understandings of the links between citizenship education and music education. In addition, the findings contribute to our understanding of the complexity of the relationship between private teachers and their students.

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Dye, Keith. "Applied music lessons in an online environment using desktop videoconferencing lessons with almost anyone, anywhere, anytime: it's possible." Saarbrücken VDM Verlag Dr. Müller, 2007. http://d-nb.info/989451453/04.

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Lehmann-Wermser, Andreas. "How lessons are structured." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34625.

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This chapter demonstrates how distinct positions in “Didactics” structure lessons in general, even down to structures in interaction. Another focus lies in the role of assessment in a comparison between the Lower-Saxony- and the Scottland-Lesson. It can be shown that the role of assessment that is proposed by the school administration influences classroom action, again down to structures of interaction.

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Fadairo, Olayemi. "Benefits of Conducting Postproject Reviews to Capture Lessons Learned." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2121.

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Organizational learning has been a focus of scholars since 1970. Researchers have demonstrated that conducting postproject reviews to capture lessons learned significantly improves organizational learning. Guided by the concept of organizational learning, the purpose of this case study was to explore how 6 New York metropolitan organizational leaders used postproject reviews to prevent project managers from repeating the same mistakes, increasing cost and time overruns, and experiencing project failure. Semistructured face-to-face and phone interviews were conducted with a project sponsor and 5 project managers in the New York metropolitan area. Data were analyzed using the process of coding and condensing the codes, which produced 5 themes, including effective lessons learned, capturing lessons learned, benefits of lessons learned, barriers to postproject reviews, and leadership support. The findings of this study indicated that organizational leaders used standard templates and organizational policies to ensure project managers execute postproject reviews. Organizational leaders and project managers may benefit from the findings of this study by learning the advantages of conducting postproject reviews. This study may contribute to positive social change by organizations achieving cost avoidance when they reduce project failures and increase project success.

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Wallbaum, Christopher. "Comparing international music lessons on video." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A33770.

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Video-recorded music lessons (on multi angle DVDs) were used to inspire and improve understanding among experts from different cultures and discourses of music education. To make the process manageable and focused we developed the Analytical Short Film (2-3 minutes) to address particular areas of interest and starting points for debate. We asked selected music teachers from seven nation-states to allow a typical and (in their opinion) good lesson to be recorded. We also asked the students and their parents for permission. At a symposium, national experts and researchers presented views on „their“ lessons through Analytical Short Films. Discussion included implicit and explicit comparisons. The presenters also used a lesson from one of the other countries to stimulate discussion about assumptions in and challenges to their own views. We documented all comparisons made and compared these to derive cross cultural categories (tertia comparationis). These categories should be relevant for understanding what makes a music lesson „good“. The different perspectives and discussions offered by the authors in this book provide rich and diverse material for researchers, teachers and teacher educators.

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Heikinheimo, Tapani. "Intensity of interaction in instrumental music lessons /." Helsinki : Sibelius-Akatemia, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018723156&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Szeto, Lai Tat. "Benefits and Challenges of Absolute Pitch." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638868.

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Absolute pitch (AP) is also referred to as Perfect Pitch. AP possessors are able to identify pitch in any kinds of sound without a reference point. However, Absolute Pitch may hinder possessors in music studies because it can confuse their brain. It is significant to understand that Absolute Pitch is not purely an advantage for possessors. While Absolute Pitch has great impact on possessors, it may bring negative phenomenon to them, which could decrease their learning ability.

This project’s purpose is to examine whether Absolute Pitch is a benefit or challenge in music studies. I will begin my project with archival research to provide background information and facts of Absolute Pitch. It will explain how Absolute Pitch is beneficial and challenging for musicians. Five hypotheses are suggested in the project: (1) Absolute Pitch possessors perform excellently in music dictation. (2) Absolute Pitch possessors value special tone quality. (3) Possession of Absolute Pitch is not always useful and accurate. (4) Absolute Pitch possessors have different perspectives in hearing intervals. (5) Absolute Pitch possessors have difficulty at transposing music.

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Rosenbalm, Kelly Lane. "Sample Lessons Plans to Effectively Incorporate Group Lessons Into the Private Studio of Young Beginning Suzuki Piano Students." Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1272035120.

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Stehr, Max W. "Bird's words and Lennie's lessons| Using or avoiding patterns in bebop." Thesis, The University of Nebraska - Lincoln, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10247656.

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Research on how jazz musicians improvise suggests that learned patterns or “licks” inserted during improvisations are ubiquitous, especially among those playing bebop. Analysis of saxophonist Charlie Parker’s solos reveals his reliance on distinct patterns that he often repeated multiple times in a single solo. Due to Parker's iconic status as a bebop progenitor and his influence on the dissemination of mainstream bebop vocabulary, one can argue that bebop improvisation is dependent on the use of licks and that they are fundamental to bebop syntax and vocabulary. This claim is supported by a myriad of improvisation manuals advocating the practice of licks as integral to the acquisition and development of bebop vocabulary.

Saxophonists Lee Konitz and Warne Marsh were both contemporaries of Parker who matured as improvisers under the direction of teacher Lennie Tristano. Though he and his students revered Parker, Tristano’s pedagogical method rejected the imitation of other bebop improvisers by specifically avoiding the inclusion of licks, thus encouraging more melodic spontaneity. The results of Tristano's method are exemplified by the work of Konitz and Marsh during the late 1940s and early 1950s.

This paper addresses the relative merits of these two approaches to bebop by investigating the stylistic differences between Parker and Tristano’s students Konitz and Marsh. Chapter 1 discusses Parker's approach to improvisation, specifically his use of licks, and his influence on mainstream jazz pedagogy. Chapter 2 outlines Tristano's pedagogical method and discusses the differences between his approach and the mainstream approach to teaching bebop. Chapter 3 explores the cognitive and neurological necessity of using licks in bebop, and discusses current music cognition literature and fMRI studies conducted on improvisers. Chapter 4 presents an analysis of licks by Parker, Konitz, and Marsh, and their effect on improvisational outcomes. As there is a rhetorical quality to jazz improvisation, linguistic concordance software called AntConc was used to locate patterns in the transcriptions. AntConc analysis reveals a greater volume and frequency of patterns in the playing of Parker than in the playing of Konitz and Marsh.

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Cave, Penelope. "Piano lessons in the English country house, 1785-1845." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/366438/.

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Two largely unexplored collections form the basis for research on the significance of piano lessons in the country homes of the British elite in the years around 1800. The owners of the music libraries were the Egerton family at Tatton Park, Cheshire and the Aclands of Killerton House, Devon. The women who married into these families, along with their children, form casestudies that stretch the boundaries of domestic amateur music-making, within an overlooked area of English keyboard repertoire. The piano was emerging as the ideal instrument for girls and women in the home, and this study examines the instruments at their disposal, providing substantial new information on the important Broadwood grand that belonged to Lydia Hoare Acland. Teachers, pupils and pedagogical tools cast light on the transition from a girl’s polite pastime to an emerging school of excellence, and this thesis examines, in detail, the practice of preluding in the education of Elizabeth Sykes Egerton, placing it against the broader background of women’s instruction in the ‘science of music’. The repertoire in the two family collections is a huge, multi-layered resource that adds colour to the outlines of early piano pedagogy, and exemplifies a breadth of skill across three or four generations. In this thesis, I place these important printed music collections in the context of additional contemporary sources, including diaries, memoirs, manuscript music and a commonplace book. Considering these collections in this wider arena, not only reveals a rich picture of early piano pedagogy, but also yields insights into the lives of the individuals who bought and used music for performance, study and sociability.

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Dyal, Edith Irene Colvin. "An examination of factors which associate with a successful outcome in piano lessons /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169643.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).

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Prantl, Daniel. "Talking about music lessons: implicit and explicit categories of comparison." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34629.

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This chapter presents a grounded-theory-oriented analysis of central discussions of the ICMLV symposium which tries to clarify which tertia comparationis the participants referred upon. In total, nine implicitly and seven explicitly used T.C. are presented. An additional analysis yields that a meaning-oriented understanding of culture was in majority used throughout the symposium.

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Rowe, Victoria C. "Patterns and consequences of gender interactions in instrumental music lessons." Thesis, University of Roehampton, 2008. https://pure.roehampton.ac.uk/portal/en/studentthesis/patters-and-consequences-of-gender-interactions-in-instrumental-music-lessons(50a8e1cb-524d-4258-9e8b-394a72e66225).html.

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This mixed methods study investigates an aspect of learning which is often overlooked: that of gender interaction in one-to-one instrumental music lessons. The gender of teacher and pupil may contribute to differences in behaviour and expectations, which could impact upon teaching and learning processes and outcomes. The study asks the following questions: ‘Do instrumental teachers and pupils hold gendered beliefs about each other and about their lessons, and if so, how do these beliefs affect their interactions, and what might be the consequences for learning?’ Three linked studies - a teachers’ and pupils’ questionnaire study, a lesson observation study, and an interview study - were conducted to offer different perspectives on these research questions. The questionnaire studies found that participants held several stereotypical expectations. Teachers believed that girls were more conscientious than boys; pupils believed that male teachers were more ‘likely to set challenges’ than female teachers, who were more likely to be characterised as ‘patient’. The observation study found many similarities in the ways men and women interacted with boys and girls. Some important variations were identified, however, including the findings that during lessons male teachers were likely to play their instruments more frequently than female teachers, and that boy pupils were less likely than girls to look at their teacher's face. In the interview study, teachers and pupils offered background information and opinions which helped to contextualise the earlier findings. A ‘good’ relationship was seen by all participants as a key factor for successful teaching and learning, but this was defined in different ways. Men and boys were most concerned with the technicalities of playing the instrument well. Women and girls, while valuing skill, also maintained the importance of more affective issues, such as mood, personal likes and dislikes. As well as contributing to educational psychology by exploring an under-researched area, the findings will be of practical use to instrumental teachers and to conservatoires, universities and teacher educators in general education. Awareness of gender issues, and particularly of the need to avoid stereotypical expectations, will help teachers to provide equity for pupils, in order that all can achieve their potential.

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Bosarge, Jonathan Todd. "AN OVERVIEW OF THE PEDAGOGICAL BENEFITS OF TRUMPET ENSEMBLE PLAYING." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274358906.

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Shonkwiler, Joel David. "A New Model for Beginning Trombone Lessons." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260396865.

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Daubney, Alison. "Teaching Styles in Music Composing Lessons in the Lower Secondary School." Thesis, Roehampton University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515311.

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Norton, Naomi Claire. "Health promotion in instrumental and vocal music lessons : the teacher's perspective." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/494/.

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This thesis addresses health promotion in the context of instrumental and vocal music lessons from the perspectives of UK teachers. Instrumental/vocal teachers have been identified as potential allies in the prevention of performance-related problems (PRPs) because they are key stakeholders in music education and are in a position to influence primary and secondary prevention of PRPs. However, very little research had investigated these stakeholders’ personal characteristics or their health-related beliefs or behaviours. Therefore, a survey study was designed to investigate the demographic characteristics, educational pathways, and performance-related health of a large group of teachers (N=496), and to explore their health-related beliefs and behaviours. An interview study was conducted to follow up survey findings and explore health promotion in more detail with a smaller sample of teachers (N=12). Results indicate that teachers’ engagement with health promotion is influenced by their personal characteristics – in particular their sex, teaching instrument, and experience of PRPs – and that many teachers already address health promotion by listening to pupils, providing advice, and reporting or referring pupils when necessary. These behaviours were influenced by various factors including, in many cases, teachers’ fundamental belief that they bear at least partial responsibility for pupils’ health and well-being. This perceived responsibility was shared with pupils, their families and institutions, and healthcare professionals; interactions between these stakeholders were explored. Two intervention studies were conducted to investigate teachers’ practical engagement with health-related resources; these studies centred on evaluation of health-related books (N=33) and the provision of an event for teachers and other relevant stakeholders (N=44). Teachers’ participation in these studies demonstrates that there is interest in health promotion among UK teachers and the findings provide information that can be used to improve the content and delivery of resources. The results of all four studies indicate that UK teachers are appropriately placed to act as health promotion advocates, in most cases are already doing so, and to a large extent are interested in learning more about health promotion. The conclusion of the thesis outlines five main implications of this research and identifies directions for future research.

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Zhukov, Katie School of Music &amp Music Education UNSW. "Teaching styles and student behaviour in instrumental music lessons in Australian conservatoriums." Awarded by:University of New South Wales. School of Music and Music Education, 2004. http://handle.unsw.edu.au/1959.4/20698.

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This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.

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Gulish, Sarah Anne. "Lessons Learned from Java Jam: An Alternative Music Making Event at the High School Level." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/262397.

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Music Education
Ph.D.
The purpose of this intrinsic case study was to understand the function and significance of Java Jam--an annual music performance event at a public high school in which students select and rehearse music to perform. Five questions guided the study: How do different groups of Pikeford High School community members view Java Jam? How does Java Jam influence music-making? What are the successes and failures of Java Jam? What are the connections between Java Jam participants and school music? And, how does Java Jam affect the Pikeford High School community? In this study, I provide a detailed description of Java Jam through the perspective of 24 participants representing varied roles among PHS community members: students, teachers, parents, and alumni. The study was bound by both time and place, and data were collected at Pikeford High School during the 2013-2014 school year. Data used in this study consist of personal interviews, a focus group session, observations, and archival data submitted by participants. The research results are presented as both a personal narrative and case description from participant perspectives. This study provides an example of extracurricular alternative music making in which students engage in self-directed learning and peer learning. This study impacts the field of music education in that it demonstrates positive outcomes from an event such as Java Jam, including increased student autonomy, space for musical creativity, and increased confidence among student participants. I present additional implications for the field of music education, music teacher education, and future research to close the study.
Temple University--Theses

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Watson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.

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This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).

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Coleman, Elizabeth G. "The Cross-Genre Benefits of Classical Music Instruction in the Collegiate Music Production and Engineering Classroom." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1588508894492586.

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Perrilliat, Jessica A. "Social Networking: the Benefits of Twitter for Music Fans and Consumers." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115138/.

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Due to the evolution of new media technologies, social networking websites have become major avenues for online media consumption. Twitter is one of many proven beneficial for online users. It is utilized for many different reasons, one of which includes music. It is then necessary to know how beneficial Twitter is for music fans and consumers. This study attempts to analyze the benefits of Twitter for music fans and consumers. Using an online survey, different gratification items are measured. Results reveal that some music fans and consumers do use Twitter for music purposes and that there is a statistically significant difference in terms of gratifications between those who use Twitter for music purposes and those who do not.

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Prewitt, Spencer. "A Comparison of Teacher-Guided Instruction and Self-Guided Student Practice Strategies." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1362852359.

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Airulla, Barbara. "The benefits of Arts Education: an investigation of causality and individual perceptions." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1085587568.

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Lemoine, Nicole Jeanette. "Closing the book: including improvisation in the private piano lesson." Kansas State University, 2015. http://hdl.handle.net/2097/19026.

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Master of Music
School of Music, Theatre, and Dance
Virginia Houser
This Lecture Recital, given in lieu of a Master’s Report, was on the use of improvisation as a teaching aid in the private piano lesson. The lecture and supplemental handout included an historical overview of the role of improvisation, research on its educational benefits in regards to student learning, and a review and demonstration of current piano method books designed to teach the concept of improvisation. A bibliography of sources used in the presentation, as well as reviewed articles, books, and websites were included in the handout. The piano method books reviewed are Scott McBride Smith’s American Popular Piano, and Pattern Play, by Forrest Kinney. This graduate lecture recital was given in partial fulfillment of the requirements for the Master of Music degree in piano pedagogy on February 25, 2015 in Kirmser Hall at Kansas State University. It featured demonstrations with the aid of Leah Harmon on piano.

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Greenberg, Talia. "The Complicated Relationship Between Music and Foreign Language Learning: Nuanced Conditions Required for Cognitive Benefits Due to Music." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1438129548.

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Johannes, Chanté. "The perceived benefits of structured and unstructured physical education lessons: Perspectives from selected high schools in Cape Town." University of Western Cape, 2019. http://hdl.handle.net/11394/7665.

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Magister Artium (Sport, Recreation and Exercise Science) - MA(SRES)
Over the last ten years, research has shown that adolescent activity has decreased in both developed and developing countries. One way of meeting desirable physical activity levels for adolescents in schools is through physical education. Structured physical education is the ideal form of what physical education should entail, however unstructured physical education can also be incorporated as a method to increase physical activity. Because little is known about the benefits of both these types of physical education, this study aimed to investigate the perceived benefits of structured and unstructured physical education lessons as perceived by Grade Eight and Grade Nine learners and physical education and/or life orientation educators in Cape Town high schools.

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Hunt, L. A. Pearl. "Music lessons : a cultural studies analysis of music's capacity for critical pedagogy and methodology." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/29158.

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When expressing the phrase music lessons, one often visualizes students with their musical instruments practicing scales or compositions with the intent of memorizing the music. Although music can actualize as mnemonic practice, this dissertation focuses on other lessons that music teaches us by examining how musical knowledge is produced. Building on the ideologies articulated within a framework of cultural studies, the dissertation attempts a pedagogical praxis that establishes a fluid and dynamic conversation to express both my theoretical and empirical findings. The findings then are not definitive answers to the questions I pose about music’s effect, but operate as a process of opening up these questions to further reflection. The dissertation, by invoking a praxis-based structure, communicates both the theoretical “how” of music as praxis involved work and my practice of realizing music as culture-in-action. The dissertation aims to redress music – not only in terms of music making as transformative praxis but also to assert that music, as a means of producing knowledge within critical discourse, can be situated as the subject versus the object of effect. Because a core component of music is its ability to be inclusive of all cultures/peoples, the dissertation examines how the performative aspects of music intersects sites and people of differing class, gender, race and culture to articulate music’s capacity for negotiating difference. Pitched in this way, music can no longer be regarded by critical educators as being on the sidelines of critical discourse but rather will be seen as integral to transforming consciousness and realizing praxis. By informing and expanding upon the theory and practice of critical pedagogy, this music discourse not only seeks to influence a broader idea of social justice praxis but can also operate as a predominant cultural component in promoting peace education.

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Wetzel, Pierson A. "The pedagogical benefits of duet playing a Vannetelbosch companion /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180034244.

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Conlon, Colleen Marie. "The Lessons of Arnold Schoenberg in Teaching the Musikalische Gedanke." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9855/.

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Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung (the Gedanke manuscripts), written over the course of several years from the 1920s to the early 1930s. After emigrating to the United States in 1933, Schoenberg immediately began teaching and writing in an attempt to arrive at a comprehensive approach to his pedagogy. The remainder of Schoenberg's textbook publications, with the exception of Models for Beginners in Composition, were left unfinished, were edited primarily by Leonard Stein and published after Schoenberg's death in 1951. Preliminary Exercises in Counterpoint, Fundamentals of Musical Composition, and Structural Functions of Harmony complete his ouevre of theory publications. An examination of the Stein notes offers contributing evidence to Schoenberg's lifelong pursuit to find a comprehensive approach for teaching an understanding of the musikalische Gedanke. With the addition of an analysis of the first movement of Mozart's G minor Symphony, K. 550, which Schoenberg used often to illustrate examples of basic concepts as liquidation, transition, neutralization in the minor key, the role of the subordinate theme, retransitions, codettas, melodic and harmonic overlapping, and motivic analysis, this study focuses on Schoenberg's comprehensive approach to both analyzing the musical work and teaching methods of composing.

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Carver, Joseph Daniel. "An Investigation into the Musical and Social Benefits of High School Marching Band Participation." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155557359362037.

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Alsaif, Sanaa. "William Sterndale Bennett's preludes & lessons Op. 33 : a practical study and a critical edition." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/370188/.

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William Sterndale Bennett (1816 –75), made a significant contribution to music education in Britain during the Victorian age. His special interest in pedagogy, particularly teaching the pianoforte led him to compose a set of Preludes & Lessons for the female pupils at Queen’s College, London. The set was well received until the end of the nineteenth century, but has since fallen out of the public eye – like so many of Bennett’s works. The aim of this project is to clarify the use of Op. 33 by showing how the pieces treat important aspects of performance practice. Another aim is to bring back the set of Op. 33 to the present after a period of neglect by providing a critical edition of the pieces. A historical background is provided in order to demonstrate Bennett’s place in the field of pianoforte teaching at the time. This section deals with his career as an educator and his experience at Queen’s College, and includes a preface on teaching pianoforte in the Victorian age. The historical background is followed by a close study of Op. 33 to demonstrate their treatment of the major aspects of performance practice. All these elements are placed in chapter I, which is in the first volume of this project. Chapter II concentrates on the publication of the work in prepare for creating the edition. The publication history of Op. 33, its publishers and the textual problems in the set, are considered. Moreover, the problematic cases of Mendelssohn’s manuscripts and Chopin’s first editions are discussed and adopted as models for the preparation of the edition which forms the outcome of this project. This chapter also lies in the first volume. The second volume includes Chapter III, which considers a critical edition of Op. 33. It starts with a short introduction which provides major principles to be followed in the edition, then deals with the edition sources and their evaluation. This is followed by the musical text and the critical commentary.

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Maupin, Jason Derek. "Valuing the Environmental Benefits from GM Products Using an Experimental Procedure: Lessons From the United States and the Philippines." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/30794.

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This thesis develops an experimental procedure to value the environmental benefits from two pre-production genetically modified (GM) products, MVR tomatoes and Bt eggplant. The procedure explicitly tells subjects the GM nature of the products, and frames the value as an actual donation to the scientific organization pursuing the product research. The procedure is tested in the United States and the Philippines. The tests suggest that United States students give significantly different values than Filipino farmers with Filipino farmers valuing the environmental benefits much higher than United States students. The tests also suggest that slight changes in procedures can significantly affect values. Subjects also use information learned during the experiment to form their valuations. For example, Filipino farmers significantly increase their values as the procedure progresses.
Master of Science

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Johansson, Johanna. "Benefits of Songs in the ESL Classroom." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-41364.

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One can argue that songs offer a useful learning opportunity for learning English as a second language since it includes the combination of music and text. Therefore, the purpose of this paper is to examine in what ways songs can affect the ESL classroom. The aim is further to compare and apply the findings to a Swedish upper secondary school context to examine how development can take place for ESL learners in Sweden. Moreover, the approach to this study consisted of a literaturereview of articles within the research area, which were used to answer the two research questions: To what extent can the use of songs in the ESL classroom stimulate incidental vocabulary learning?Additionally, what are other potential benefits from using songs in the ESL classroom? The results were unified regarding the main question of songs and vocabulary acquisition; all findings included positive effects of songs on incidental vocabulary learning and retention of new words. Moreover, implementing songs in the ESL classroom showed more positive attitudes towards school among students and teachers; in addition, the results indicated on a decrease regarding anxiety and stress among the learners. Furthermore, the Swedish National Curriculum emphasizes the importance of a positive classroom environment for the learners, and the syllabus for English requires a variety of texts, in which songs can offer useful learning conditions for vocabulary acquisition. Therefore, the song-based approach is presented as suitable for a Swedish upper secondary classroom.

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Richmond, Floyd. "Tools, guidelines, and strategies for the development of computer-assisted-instruction lessons by non-programming music teachers." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902513.

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The purpose of this study was to enable music teachers with limited technological background to develop computer-assisted instruction lessons. Toward this end, (1) "Lesson Writer," a HyperCard-based authoring system for the Apple Macintosh computer, was developed and (2) guidelines and recommendations for the production of effective CAI lessons in music were written. The specific organization of the dissertation is as follows. Chapter One presents an introduction and establishes the need for greater participation by music educators in the creation of CAI lessons in music. It calls for the creation of an authoring program for music teachers. Chapter Two reviews literature related to the study. Chapters Three and Four discuss the characteristics of the student and computer and the impact of these characteristics on CAI development. These chapters include guidelines for the creation of effective CAI music lessons. Chapter Five provides a tutorial on how to use the "Lesson Writer" software to produce a simple lesson on musical texture. The basic concepts of creating screens, adding text, sound, graphics, and interaction are demonstrated. Chapter Six gives an overview of "Lesson Writer." Chapters Seven, Eight, and Nine explain presentation screens (explanation), interactive screens (interrogative), and control screens (organizational) respectively. Chapters Ten, Eleven and Twelve introduce techniques for adding sounds, graphics and multimedia events (CD ROM and video disc) to CAI lessons. Chapter Thirteen shows random and branching operations in the "Lesson Writer." Chapter Fourteen includes a summary, suggestions for future study, and conclusions. In the appendices are (1) a list of lessons created using "LessonWriter," (2) a HyperCard and XCMD bibliography, (3) instructions for installing "Lesson Writer", (4) instructions for writing HyperTalk extensions to the "Lesson Writer," and (5) an annotated bibliography of dissertations written between 1982 and 1993 on the topics of computers and music. This bibliography was compiled by paraphrasing and condensing the abstracts provided by a computer search of Dissertation Abstracts International on the keywords, "computers" and "music."
School of Music

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Rifkind, Justin, and Justin Rifkind. "Implementing New Orleans Brass Band Playing Into a Tuba and Euphonium Applied Lessons Course." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621090.

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The focus of this project is to examine current tuba and euphonium applied lessons syllabi and to create a New Orleans brass band curriculum supplement to enhance those existing courses. Through the addition of new method books, exercises, historical texts and articles, listening assignments, and performing experiences, collegiate tuba and euphonium students will be able to apply the knowledge gained in core academic music courses, such as music theory and music history, to mastering a new style of music. Emphasis has been placed on learning chord progressions, stylizations, and how to improvise and walk a bass line.

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Major, Angela Elizabeth. "Children as reflective practitioners : an action research project about talk as appraising in school music lessons." Thesis, n.p, 2001. http://dart.open.ac.uk/abstracts/page.php?thesisid=143.

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DeSilva, Dominique Carmen. "MUSIC LEARNING THROUGH TRADITION: COUNTY CLARE SINGING SESSIONS AND POTENTIAL BENEFITS OF CLASSROOM ADAPTATION." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/591453.

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Music Education
M.M.
The Irish singing session has provided a safe community where singers of all abilities are welcome to share with and learn from one another. Through British occupation and into independence, the Irish session has transformed tremendously from its original form. Still, the session carries on the Irish tradition of music learning and enculturation through oral transmission. Singing sessions provide a unique opportunity for the many songs of Irish history to be sung and learned; passed down from generation to generation! Singers learn new songs through listening to and watching other singers, imitating material, experimenting with new ideas, and discussing musical performances with others. Session leaders may attempt to create an encouraging and accepting environment where singers feel secure, resulting in the unbridled sharing of singers’ deep connections with a song. Such methods, including personal choice and a safe environment, have been observed through field research and have shown to positively affect singers and communities related to singing sessions in County Clare, Ireland. In this study, I pose that the methods used in singing sessions may also be beneficial when adapted for use in the music classroom.
Temple University--Theses

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Shen, Dan Shen. "A Survey of Parent, Student, and Teacher Attitudes about Perceived Parental Involvement in Chinese and American Private Piano Lessons." University of Toledo / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1470413687.

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Paxcia-Bibbins, Nancy. "The effects of the 4MAT system of instruction on the attitudes and achievement of elementary children in music listening lessons." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897483.

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The primary purpose of this study was to compare two methods of instruction for teaching music listening to upper elementary children--an experimental approach utilizing the 4MAT instructional model of Bernice McCarthy and a conventional approach based on textbook materials. The investigator employed the 4MAT model for incorporating a holistic and whole-brain approach into music listening instruction. The study compared mean differences on two dependent variables, attitude and achievement test scores, between two groups (teaching methods) and two grade levels (fourth and fifth grades). Analyses of variance (ANOVA) were used to assess both primary and secondary data regarding gender, grade, and teacher. The researcher also analyzed subjective observations of participating teachers.Subjects were 440 fourth and fifth grade students from two suburban schools randomly assigned to intact classes and equally divided between grades to 4MAT or conventional instruction. Each class heard three classical music selections within a six-lesson framework. The investigator assessed subjects' attitudes toward classical music and their music knowledge after instruction.No significant effects resulted for instructional method. Further investigation of gender, grade, and teacher suggested some interactions for attitude: attitudes of 4MAT-instructed males of Teacher A tended to be more positive than those of conventionally-instructed males; the fourth grade sample produced greater gains for Teacher A in the 4MAT condition and for Teacher B in the conventional condition; three-fourths of the fifth grade cells in the 4MAT condition showed gain, and three-fourths in the conventional condition showed decline.Regardless of instructional method, males showed a significantly more positive attitude than females; fifth grade subjects tended to be more positive than fourth grade subjects; significant difference in attitude between students of the two teachers might be ascribed to socioeconomic standard or academic achievement level.Conclusions: (1) furnishing students with opportunities for hearing classical music is likely to produce improved attitudes toward classical music; (2) if the goal of music listening instruction is to provide students with cognitive and affective experiences, and to benefit from findings regarding musical behavior, brain research, and individual differences, the 4MAT instructional model offers a viable approach for listening lessons.
School of Music

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McKnight, Michael. "Exploring the Private Music Studio: Problems Faced by Teachers in Attempting to Quantify the Success of Teaching Theory in Private Lessons through One Method as Opposed to Another." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/mcknight%5Fmichael%5Fwilliam/index.htm.

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Kalverboer, Kenda. "Parental involvement in private violin lessons : survey of teacher attitudes and practices." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116058.

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The primary research question of this paper examines teachers' philosophies concerning parental involvement and pedagogical practices. Specifically, what are violin teachers' attitudes and practices concerning parental involvement? Secondary research questions were formulated as a result of major topics arising from the review of literature and focused on how and why teachers formed their personal philosophies towards parental involvement. The following research is unique in that it defines the concept of parental involvement directly from the perspective of the teacher. Because anyone teacher oversees the development of many violin students, he/she is in an extraordinary position to comment on factors, conditions and behaviours across a large sample of students with differing types and degrees of parental involvement. Specifically, this study investigates factors of parental involvement that violin teachers believe to have a positive impact on student success.

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Platt, Kelsey Elyse. "Developing metacognitive and self-regulated learning skills through reflective writing prompts." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3164.

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Effective practice determines the quality of a performance and it is essential to improving a musician's overall level of playing. Studies show that experts in the field of music display superior metacognitive skills, or the ability to think about one's thinking. Metacognition is an important skill that needs to be developed in order for a student to become a self-regulated, or independent learner. Effective practice can be improved by learning and developing metacognitive and self-regulated learning skills. An important component of self-regulated learning is reflective thinking. Reflective thinking is a mental process that contributes to deeper learning experiences, improves problem solving skills, and enhances creativity. Reflective thinking can be stimulated with writing activities. Research and theories of reflective practices informed the creation of the Reflective Writing Prompts. The Reflective Writing Prompts stimulate reflective thinking as they teach and develop metacognitive and self-regulated learning skills to make practice more effective. Each exercise prompts the student to think and write a response to questions focused on a specific skill. These prompts are based on research in music psychology and reflective thinking, with special focus on metacognition, self-regulated learning, practice habits, and reflective journaling. The pertinent studies and theories in these areas will be examined and explained in relation to each other. With this foundational knowledge in place, the Reflective Writing Prompts will be presented. The prompts are designed to support first or second year music students in their development as independent learners who practice effectively.

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Elliott, Emma. "Where Do We Go From Here? A Semi-Autobiographical Performance Exploration into the Therapeutic Benefits of Theatre." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1366.

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My intention in this performance is to create a therapeutic theatrical process for myself and engage the audience with intense emotional vulnerability regarding the combination and validation of the nobody and performative self. I utilized both my vocal and acting training to work through emotional trauma that I have experienced and created a musical performance to demonstrate my journey of therapy and emotional reconciliation within myself and my family. I focused my research on using autobiographical performances to solidify and validate the identity of the performer to an audience. In doing so, this allows the performers to become the narrator and take control of their life story. Self-reflection can provide clarity and insight into one’s mental state and understanding of how certain events have impacted them mentally and/or physically.

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Nadal, Magnum C. "Real Virtuality| An Examination of Digital Identity and the Ethical Boundaries and Benefits of Appropriation in "Real"| Concerto for Vocaloid." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785362.

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This paper examines the capabilities of Vocaloid synthesis software as a featured solo instrument in an original composition entitled “Real”: Concerto for Vocaloid, scored for an ensemble of vocalists, chamber orchestra, laptop performers who trigger Vocaloid playback and process electronic audio live, and multimedia elements that include video, staging, and lighting design. This paper discusses the inherent compositional issues of implementing Vocaloid within a concerto and multimedia setting through an examination of identity (reality vs. virtuality), the process of composing a concerto, and methods of creation. “Real”: Concerto for Vocaloid explores appropriation techniques, adaptation of electro-acoustic practices (and the subsequent inheritance of certain styles), and the use of a narrative involving crowd-sourced creativity, hyper-reality, consumerism, and the Vocaloid virtual instrument as a performer and platform.

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Marika, Wirung. "Musik i kubik : En kvantitativ enkät studie om var gymnasieelever som spelar ett symfoniorkester instrument skaffat sig sin musikaliska utbildning, innan de väljer estetiska programmet och läser kursen Instrument eller sång på gymnasiet." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-181607.

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This essay examines where students gain their knowledge of exercising a musical instrument before they choose aesthetic focus of music in high school, on an instrument used in today’s symphony orchestras. In elementary school curriculum there is no room for students to learn to play an orchestra instrument, you have to obtain your music lessons outside compulsory school. Despite this, there is a vocational training in music in high school where you get individual teaching on your musical instrument, the course Instrument or song. This can be understood through curriculum theory. I used a quantitative method. The empirical data is based on a survey. All students in this survey have received their education outside primary school. 73% of the students have received their education through the cultural school. 50% of the students that play a string instrument had taken Suzuki education and started their education in preschool age. The knowledge legitimized through the formulations of curriculums are political decisions that are about what the state believes citizens should be able to perform to develop a well functioning society. As long as the teaching is not free and does not fall under Swedish National Agency for Education's regulations, all children do not have the same opportunities for learning to play a music instrument. This becomes a social ethical problem when it comes to the accessibility for everyone to play a musical instrument and perhaps especially an orchestra instrument.

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Fischler, Gail. "Actual and Ideal Roles of Music Teachers in Community Schools of the Arts Pertaining to Community, School, and the Profession." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195791.

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The purpose of the study was:1. To develop an inventory of music teacher roles which pertained to the setting, community schools of the arts (CSAs).2. To discover how music teachers perceive their actual job roles vs. their ideal job roles in CSAs.An instrument was structured using the roles found in the work of Onderdonk (1995), Barnes (1972), Moller (1981), White (1964), and input from experts. Roles were categorized into three areas: community, school, and professional. The population of teachers was drawn from member schools of the National Guild of Community Schools of the Arts (NGCSA) for the year 2005-2006. The final study population consisted of 139 CSA teachers from 16 schools across the USA.Overall, teachers indicated that roles in the professional category were and should be performed more often than community and school roles. The school and community categories were deemed equal to each other (actually and ideally). Teachers indicated that community, school, and professional roles in CSAs were complex, consisting of 31 roles (7 community, 10 school, and 14 professional). A ranked and tiered inventory of the 31 valid roles and a portrait of the CSA music teacher were created. As an aggregate, teachers ideally desired to increase the frequency with which they performed the following roles: Advocate, Attendee of Faculty/Committee Meetings, Attendee of School Activities, Performer/Demonstrator/Coach, and Student/Lifelong Learner. As an aggregate, teachers desired to decrease the frequency with which they performed the role of School Leader. Teachers indicated balance in regard to modeling, performing, parental education, discipline, tradition, and leadership.Implications for CSA administrators, personnel of the National Guild of Community Schools of the Arts, teacher educators and trainers, and future research include: finding paths to develop part-time leaders, developing content for coursework and professional development specific to CSA teachers, and promoting awareness that investment in current/future teachers should be given similar value and energy to fundraising efforts. In order to educate/train future CSA teachers, coursework which includes preparation as instrumental/pedagogical experts, as well as content which provides training in educational philosophy, history, curriculum development, role modeling, culture, and technology were recommended.

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GARCIA, GILBERTO VIEIRA. "SO SUBLIME AND ENCHANTING ART: LESSONS AND MASTERS OF MUSIC AT THE IMPERIAL COLLEGIO PEDRO II (1838-1858)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24906@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
BOLSA NOTA 10
Este trabalho tem como objetivo investigar as relações históricas entre o ensino de Música e o ensino Secundário na Corte do Rio de Janeiro, tendo como elemento central a sua constante presença entre as aulas do Imperial Colégio de Pedro II, no século XIX. Para tanto, procura-se analisar a importância simbólica e política da Música na constituição de uma imagem culta e civilizada do Império do Brasil, sobretudo, da boa sociedade na Corte do Rio de Janeiro; a trajetória dos primeiros Mestres de Música do colégio; e as características e o lugar ocupado por suas aulas entre 1838, ano de sua inauguração e 1858, quando seu principal professor deixa o CPII, após a reforma do Regulamento, em 1855, que redefine bruscamente o espaço de sua importância. O corpo documental construído para o trabalho é composto, além das memórias publicadas sobre o colégio, de periódicos e documentos oficiais, tais como: notícias e artigos da imprensa, notas de compra, Quadro de Horários e número de lições, Mapas de Faltas dos professores e o Livro de assentamento dos funcionários do colégio. A metodologia utilizada é a análise qualitativa dos documentos, referenciada pela linha de pesquisa da História Cultural e, especificamente, da História das disciplinas escolares e da História da profissão docente.
This work aims to investigate the historical relationships between music education and secondary education at the court of Rio de Janeiro, with the central element the constant presence of music between classes at Imperial College of Pedro II, in the nineteenth century. To this end, we seek to analyze the symbolic and political importance of music in the formation of a cultured and civilized image of the Empire of Brazil, especially the good society in the Court of Rio de Janeiro, the trajectory of the first music teachers of the college and the characteristics and place that music lessons were getting between the year of its inauguration in 1838 and 1855, when a reform of its Regulations sharply redefines the space of its importance. The documentary corpus built for the work consists, in addition to the published memoirs about the college, periodicals and official documents, such as news and press articles, bills of sale, Timesheet and number of lessons, teachers Maps Fouls Book and settlement of employees of the college. The methodology used is the qualitative analysis of documents referenced by the line of research of Cultural History, and focused specifically on the history of school subjects and the history of the teaching profession.

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Lo, Wai Han. "Reproducing pleasure through rituals : the music culture of older adults and young people in Cantonese operatic singing lessons." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1470.

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Goldenberg, Rachel Brager. "Singing and Cystic Fibrosis| A collective case study on the effects of private voice lessons on the pulmonary function and quality of life of adult Cystic Fibrosis patients." Thesis, Shenandoah University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10000826.

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Cystic Fibrosis (CF) is a genetic disease that affects multiple systems including the respiratory tract. Thickened secretions in the airway must be removed to prevent deterioration of pulmonary function. Airway clearance techniques are based on physiological principles such as cephalad airflow, the combination of expiratory airflow with high frequency oscillation at the chest wall or oral cavity, and repetitive cough. Diaphragmatic breathing, respiratory muscle training, and voicing during therapy have also been shown to improve or maintain pulmonary function in CF patients. The physiology of airway clearance is similar to the physiology of singing, which involves controlled airflow resulting in pressure oscillations and vibration. Singers build awareness of their bodies and learn to manage their breath. It is also a relatively inexpensive and enjoyable activity that requires little equipment or space. Singing should not replace medically recommended therapies, but it may be a viable adjunct therapy.

In this concurrent mixed methods collective case study, the effects of nine private singing lessons on the pulmonary function, measured by FEV₁ and quality of life, measured by the Cystic Fibrosis Questionnaire-Revised (CFQ-R) of four CF patients were investigated. Participants also completed an exit questionnaire to determine their satisfaction with the lessons and impressions of the study. Lessons were taught by the same teacher and tailored to the needs of each participant. The teacher kept a journal of the proceedings of each lesson. To evaluate the efficacy of the lessons, the teacher assessed each participant before and after the lessons using a rubric and helped the participants to create modified phonetograms. Two single-factor analyses of variance (ANOVAs) were performed on the phonetograms to compare the pre and post voice lesson effects in terms of maximum and minimum sound pressure levels. Due to the small sample size, no further statistical analysis was performed, and the results of the study will be pilot data for future research.

Effects on FEV₁ were inconclusive, but the teacher observed all participants coughed during singing and not during conversation, suggesting the mobilization of mucus. All participants improved in the domain of body image on the CFQ-R. This, combined with comments from participants on the exit questionnaire about gaining confidence, suggests an overall improvement in self-esteem resulting from the lessons. Most participants also improved in the domain of physical functioning. Two participants improved significantly in terms of maximum vocal intensity as indicated by their phonetograms. The teacher was well informed about CF but did not need to structure the musical aspects of the lessons in any specialized way, although an emphasis was placed on breathing and the allowance and encouragement of coughing from participants, which is deviant from the norm. All participants reported satisfaction with the treatment and wrote about breath control being one of the most important gains from the lessons. All but one reported they would continue lessons if given the chance. The results suggest singing lessons may provide some airway clearance and improve the quality of life of adult CF patients. Further investigation of this topic is warranted.

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Dissertations / Theses on the topic 'Benefits of music lessons'

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