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Burke, Donita Baham. "A Music Curriculum for the Non-Music Major Teacher of the Intermediate Grades." UNF Digital Commons, 1985. http://digitalcommons.unf.edu/etd/71.
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This study was developed for the teacher who may have limited resources in music education. The purpose of this study was to design a curriculum in music education for the intermediate grades so that a non-music major teacher could easily instruct music lessons. The characteristics of musical growth have been outlined and research has been shown to support the musical characteristics. A set of objectives has been formed as the foundation for teaching music to children of the intermediate grades. The curriculum devised has three components for the teacher to follow: songs appropriate for each season, holiday or month, listening to American composers, and creating musical instruments. The activities listed have been selected for student appeal and enrichment suggestions are given to allow the teacher the opportunity to expand the, music lesson. It is with great hope that this study will give the teacher confidence to undertake a program of music that may have been otherwise nonexistent in the classroom.
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Schünemann, Anelise Thönnings. "Música e histórias infantis : o engajamento da criança de 0 a 4 anos nas aulas de música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28804.
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A pesquisa situa-se no campo da pedagogia da música, especificamente nas relações que estruturam a integração entre música e histórias infantis. O objetivo é compreender de que modo a articulação entre música e história promove o interesse e engajamento das crianças, criando-se um espaço que facilita o desenrolar pedagógico das aulas. O pressuposto é que essa articulação de fato ocorre, necessitando ser desvelada mediante a identificação de suas propriedades. O referencial teórico apresenta o ambiente sonoro e musical da criança, literatura infantil e infância, e a importância da música e da história infantil na sala de aula. Foram observados 23 encontros de musicalização com crianças de 0 a 4 anos, no período de outubro a dezembro do ano de 2009. As observações foram registradas em forma de episódios, com descrições do contexto geral da aula, sinopse da história trabalhada e atividades musicais realizadas. As análises enfocaram as manifestações de interesse da criança como indicador do seu engajamento, procurando identificar de que modo e em quais circunstâncias esse engajamento ocorre. Os resultados mostram que as relações entre música e histórias infantis apresentam propriedades comuns e complementares, caracterizando-se pela interdependência mútua. A música insere-se na história infantil auxiliando a compreensão e interpretação do seu enredo, enquanto recebe dela os fundamentos da imaginação necessários para criar e se expressar musicalmente. Os resultados poderão contribuir na construção dos fundamentos pedagógicos para a educação infantil, fornecendo argumentos em favor da música e das histórias infantis na formação da criança.This study is located in the field of music education, specifically in the relationships organizing the integration between music and children's stories. The objective is to comprehend the way the articulation between music and story promotes child interest and engagement, creating a space that facilitates educational development of classes. It is presupposed that this articulation in fact occurs, needing to be unveiled through identification of its properties. The theoretical reference presents children’s sound and music environment, children’s literature and childhood, and the important of music and children’s stories in the classroom. 23 music education gatherings with children aged 0-4 were observed from October to December of 2009. Observations were recorded in the form of episodes, with descriptions of the general class context, a synopsis of the story worked with and musical activities carried out. The analyses focused on manifestations of children’s interest as indicators of their engagement, seeking to identity how and under what circumstances engagement takes place. The results demonstrate that the relationships between music and children’s stories share common and complementary properties, being characterized by mutual interdependence. Music is inserted into a children's story to aid in comprehension and interpretation of its plot, while it receives in return the bases for imagination necessary to musical creation and expression. The results will be able to contribute to building educational bases for children’s education, supplying arguments in favor of the music and in children's stories in childhood education.
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Wiemken, Patricia E. "A Comparison of Structured Versus Unstructured Composition Tasks as Assessments of First Grade Children’s Understanding of ABA Form and Rhythmic and Timbre Differences." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1174928591.
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Färnqvist, Johanna. "Barnteater - inte bara ”målad”… : En studie om hur barnteater kan se ut idag och hur en bra barnteaterföreställning ska vara enligt barn, lärare och medverkande." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4863.
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Syftet med det här arbetet är att undersöka hur barnteatern kan se ut idag och om den uppfyller barnens krav.
Observationer gjordes på tre slumpmässigt utvalda barnföreställningar för lågstadiet. Därefter intervjuades medverkande och publik som i detta fall bestod av barnen och dess lärare. Intervjufrågorna behandlade dels hur medverkande tänker inför en föreställning för barn och hur publiken uppfattade den, dels hur de anser att en bra barnföreställning bör vara.
Resultatet i undersökningen visar några tydliga tendenser. De tre barnföreställningarna höll en god kvalitet i avseende på framförande, musik och dekor. Men barn är ofta ovana teaterbesökare och har svårt att ta in information genom bara iakttagande. Därför behöver de en annan typ av föreställning än de tre jag observerade. En föreställning med mera delaktighet.
The purpose of this study is to investigate the current state of children’s theatre, and if it meets the needs of the children.
Observations were carried out in three randomly chosen children’s theatre performances. After the observations, performers and the audience - in this case, children and their teachers - were interviewed. The questions dealt with how performers think prior to a performance for children, and how the audience reacted to it, in addition to how they think a good children’s theatre performance should be.
The result of the study indicates some clear tendencies. The three children’s theatre performances received good reviews with regard to performance, music and décor. But children are seldom familiar with the theatre and have trouble attaining information through watching alone. Thus, they need a different kind of theatrical performance than the three I observed. A performance in which they are more involved in the action.
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Mead, Robin S. "Children and Music: An Exploration of the Impact of Music on Children's Lives." Marietta College / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=marietta1208554391.
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Loane, Brian. "Understanding children's music." Thesis, University of York, 1987. http://etheses.whiterose.ac.uk/4276/.
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Wartelle, Clara. "Les chants pour enfants au Japon au début du 20ème siècle : de la réception à l'affirmation d'une identité musicale." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCF001/document.
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Pièces musicales abondamment composées au début du 20ème siècle au Japon, les chants pour enfants ont fait l'objet de réflexions croisées entre pédagogues, hommes de lettres et musiciens dans une période d'effervescence culturelle et de développement des médias de divertissement.Introduite très tôt dans le système scolaire, la pratique du chant présentait des intérêts aussi variés que ceux de renforcer l'esprit collectif, de faciliter la mémorisation des connaissances, de disposer d'un répertoire interprété lors des cérémonies publiques et des manifestations patriotiques, mais aussi d'attribuer une identité commune aux exécutants. La question de l'identité musicale japonaise a notamment préoccupé les intellectuels de l'ère Taishô qui, face à l'occidentalisation grandissante bouleversant la vie sociale des Japonais, voulurent exhumer les chansons autochtones afin de les exploiter dans l'élaboration d'un nouveau répertoire.Chacune des trois parties de cette thèse s'attache donc à décrire et analyser les comptines (warabe uta), les chants scolaires (shôka) puis les chants pour enfants (dôyô) qui constituent le répertoire de la chanson enfantine au Japon, afin de retracer les évolutions inhérentes à ces types de pièces vocales, décrire les interactions des différents courants musicaux, révéler les ruptures et les oppositions que l'on peut observer dans les discours des milieux artistiques et littéraires, et permettre ainsi une meilleure compréhension de la société de l'époqueChildren’s songs were a source of reflection between pedagogues, intellectuals, and musicians during a dynamic period of cultural revival and the development of media for entertainment.Introduced very early in the school system, singing practice was a source of various interests as much as an enforcement of a collective spirit or knowledge memorization. On the other hand, patriotic demonstrations during public ceremonies allowed the enforcement of national identity through singing. The Japanese musical identity raised several questions for intellectuals of the Taisho era. During that time, they were facing an acceleration of the phenomenal Westernization of Japanese society and wanted to use Japanese nursery rhymes in order to create a new repertoire.Each part of this thesis will describe and analyze nursery rhymes (warabe uta), school songs (shôka) and children songs (dôyô) that form the genre of ‘children songs’ in Japan. Through each item, I will retrace the evolution of those types of vocal pieces and describe the interactions between the repertoire of different musical eras. This will help to reveal the opposition that can be witnessed in the speech of the artistic and literary community at the time and allows a better understanding of the wider society of that period
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Sangiorgio, Andrea. "Collaborative creativity in music education : children's interactions in group creative music making." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.
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This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in Rome, Italy. A group of eight 5-7-year-old children participated over eight months in 30 weekly sessions of group creative activities in music and movement. I was the teacher researcher and worked with a co-teacher. This exploratory, interpretive inquiry was framed by sociocultural perspectives on learning and creativity. A qualitative research methodology was adopted, which combined methodological elements derived from case study research, ethnographic approaches, and practitioner research. Data collection methods included participant observation, video-recording of sessions, documentation, and strategies for eliciting children's meanings. Thematic analysis, both theory-driven and data-driven, was conducted in order to identify relevant issues. The findings of the study suggest that in creative collaborative work in music bodily interactions and musical interactions have a stronger significance than verbal interactions. A conceptual distinction was made between 'cooperative' vs 'collaborative' which helped to characterise the different degrees of interactivity in the group's creative work. The study identified a range of component aspects which influenced the quality and productivity of children's collaborative interactions. These included: children's characteristics, context and setting, pedagogical approach, task design, collaboratively emergent processes, underlying tensions in creative learning, reflection on and evaluation of creative work, and time. Children actively gave meaning to their group creative music making mostly in terms of imagery and narrative, though they were gradually shifting towards more purely musical conceptualisations. Creating music in groups had the potential to enhance their sense of competence, ownership and belonging, and supported ethical values such as promoting the person, freedom, responsibility, a multiplicity of perspectives, and democracy. Three meta-themes run throughout the findings of the study, which are in line with sociocultural perspectives: i) a systems perspective as necessary to gain a more comprehensive view of collaborative creativity; ii) creativity as an inherently social phenomenon, and iii) creativity as processual and emergent. The implications for pedagogical practice highlight the importance of including creative collaborative activities in the music curriculum.
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Packer, Yvonne Mary. "Music and the therapeutic education of children in EBD schools." Thesis, UCL Institute of Education (IOE), 1992. http://eprints.ioe.ac.uk/7446/.
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In this study I seek to evaluate the effect of music education on the personal and social development of disturbed children and to ascertain the feasibility of incorporating such teaching into the curriculum of EBD day schools. Apart from the author's own professional practice there was little observable practice and this, combined with the difficulties of actually observing teachers working with disturbed children, placed restrictions on the scope of empirical study. Within this limitation, action research was combined with interviews, case studies and questionnaires to determine the attitude of pupils to music. Analysis of the impact of music education on the behaviour of disturbed children indicates that it has some potential to benefit their social and emotional readjustment and, at the same time, demonstrates the marked effect of pupil behaviour on the curricular intentions of the teacher. It becomes apparent that it is not feasible to work within the confines of a prescribed, developmental syllabus and that, whilst the overall aim may be to encompass much of the mainstream syllabus, the inroads to that syllabus in this context will be apparently random reflecting the child's lack of sustained concentration and fleeting moments of interest. This changing emphasis brings about a re-evaluation of the concept of music teaching and a comparison is made with music therapy in an attempt to discern which is the nearest model to therapeutic education. A retrospective view of general educational provision for disturbed children includes consideration of causation, the special skills required of teachers and an analysis of classroom problems. Problems for the researcher working in this field are diverse but in spite of the restraints, limited findings emerge which constitute the central focus of this thesis - they being that music education can be successfully incorporated into the curriculum of EBD day schools and that it may positively effect the personal development and interpersonal relationships between disturbed children. These findings are central to the recommendations made for future research and curricular development.
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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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Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.
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The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.
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Christy, Carol Sue. "The Effects of Music Segments on the Listening Comprehension of Second Grade Students in a Storyreading Situation." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1222703361.
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Chan, Edmund Sze Shing. "Music teachers' concern of inclusive music teaching scale: development, validation and correlates." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/308.
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In view of the lack of an appropriate instrument to measure primary school music teachers' concerns about teaching music to students with special educational needs in inclusive classrooms in Hong Kong, this research intends to fill the research gap by developing and validating the Music Teachers' Concerns of Inclusive Music Teaching Scale (CIMTS) for addressing these concerns. Specifically, this study aims at: (1) Developing and validating the CIMTS, (2) Assessing its psychometric properties, (3) Exploring primary school music teachers' levels of concern about inclusive music teaching, and (4) Predicting their CIMTS scores with a number of psychological, personality, and environmental variables which are hypothesized to correlate with the CIMTS. Different methods with two samples of primary school music teachers were involved in the development, validation, and prediction of the CIMTS. Regarding development, sequential mixed method involving qualitative analysis was employed to generate, pilot-test, and refine the initial pool of question items. Concerning validation (N = 309), quantitative analysis using item analysis was conducted to evaluate and refine the CIMTS, assessing its internal consistency and construct validity. Specifically, Exploratory Factor Analysis, Confirmatory Factor Analysis, SEM estimation, and Multi-trait and Multi-method analysis were performed to establish evidence of convergent and discriminant validity. Referring to prediction (N = 224), hierarchical multiple regression analysis was conducted to examine if the chosen psychological, personality, and environmental variables in the hypothesized model were significant predictors of the scores on the CIMTS. Results indicated that the 25-item CIMTS possessed adequate evidence of validity as well as satisfactory reliability regarding the overall scale and its five factors (Learning Support, Learning Obstacle, Resource, Training, as well as Curricular Design and Assessment). While the level of primary school music teachers' concerns for the Resource factor was found to be the highest among the five factors, Openness-to-Experience and School Climate were shown to be the strongest predictors of their scores on the CIMTS in the hypothesized model. With the development and validation of the CIMTS, this research not only filled the research gap in inclusive music education, but also aroused policy-makers' and music educators' awareness of teachers' needs for formal training in special education and for resource allocated to inclusive music teaching. For future research, with addition of new items, the CIMTS could be expanded in its domain coverage, refined, and revalidated with different samples. Further exploration of possible correlates of the CIMTS should be pursued.
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Morehouse, Paul G. "Investigating Young Children's Music-making Behavior: A Developmental Theory." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/73.
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We have many developmental theories contributing to our understanding of children as they meander steadfastly toward maturation. Yet, none have reported on how young children interpret the qualitative meaning and importance of their own music-making experiences. Music created by average, not prodigious, young children is perceived by adults as “play” music rather than “real” music. But do young children take the same view as adults? When Piaget speaks of the young child’s qualitatively unique view and experience of the world (Ginsberg & Opper, 1988), can we assume that his statement encompasses young children’s predispositions related to music-making?
Music is understood to occur when people act intentionally to produce and organize sound into rhythm and form. The guiding questions for this study are, What evidence is there to show that, when following an adult music leader, young children can engage in authentic music-making behavior and produce identifiable musical structures that move beyond random sounds or ‘noise’? What evidence is there to show that children's music-making behavior develops according to developmental stages? trek
This qualitative field study observed and videotaped over 100 children between 2 and 7 years old who chose to engage in music-making behavior in a socially-rich school environment during structured activities guided by an adult “music leader.”
The data gathered from this study suggest that young children’s motivation to make music derive from predispositions unrelated to notions of cultural and artistic expression thereby differing from adult musical needs and are instead based on more primary responses to their own developmental needs and their social environment. Functioning as “music leader,” the PI appeared to serve as an indispensable interface for assuring authenticity in the children’s music-making at all stages of development. The older children did not introduce any novel behavior specifically related to making music. However, due to the progression of cognitive and social maturity across the range of ages, new extra-musical behavior (EMB) slowly emerged at each developmental stage always seeming to enrich the experience relative to a particular group.
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Brooks, Alyse Marie. "The Benefit to Children of Studying Music and the Use of a Summer Vocal Camp to Introduce Children to Music Education Opportunities." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1311197066.
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O'Hagin, Isabel Barbara. "The effects of a discovery approach to movement instruction on children's responses to musical stimuli." Diss., The University of Arizona, 1997. http://catalog.hathitrust.org/api/volumes/oclc/40536715.html.
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Mullen, Philip. "Challenging perceptions : community music practice with children with behavioural challenges." Thesis, University of Winchester, 2017. http://repository.winchester.ac.uk/686/.
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Over the past decade, and particularly since the publication of The National Plan for Music Education (DfE, 2011), there has been increasing opportunity for community musicians in England to work with young people with challenging behaviour in Pupil Referral Units (PRUs) and in Emotional and Behavioural Difficulties (EBD) Units. This study identifies and discusses six key elements that influence community music delivery in these settings. These elements are: what the children bring, organizing structures, ideas and materials, focus and energy, reflection and reflexivity and the intentions of the leader. These elements emerged from the data collected through the study. This study combined action research and grounded theory. It employed a number of data collection methods, including participant observation, semi-structured interviews, focus group work and a literature review. The environment of PRUs and EBD Units are based on formal schooling but are both volatile and academically ineffective (Taylor, 2012). Community musicians, who frequently work outside the curriculum, need insights and understandings beyond traditional educational practice if they are to be successful in engaging children in these environments. Community music practice addresses not only musical but also personal and social development. This, and the nature of PRUs, and of the children within them, makes the work complex. Through understanding the role all six elements can play in shaping the child’s experience, the community musician can use this knowledge to develop programmes that address these children’s complex needs, allow them to place themselves at the centre of their own learning and encourage their ownership of their own creative expression. This can give them a sense of meaning for their own often troubled histories and may offer them a pathway to reconstructing their own self concept away from conferred negative identities as excluded children towards seeing themselves as learners and musicians.
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Nichols, Annemarie. "Utilizing music to teach basic spatial concepts to preschool children the impact on acquisition /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/380.
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Miller-Jones, Annette Marjorie. "The Effect of Music Therapy Upon Language Acquisition for Children on the Autism Spectrum Aged 3-8 Years." Thesis, Northwest Nazarene University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10603122.
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Research indicates the characteristics of Autism Spectrum Disorder include challenges with receptive and expressive language, which can negatively impact social-emotional development and physical regulation. The needs of children with autism are expected to greatly impact the current medical and educational resources, thus effective intervention for language development is considered crucial. A recently implemented intervention is music therapy. Effective intervention strategies for families and special education staff are constantly being sought after. This qualitative study sought to determine, (a) how does music therapy affect the receptive and expressive language skills in children diagnosed with Autism Spectrum Disorder aged 3–8 years? (b) what components of music therapy do parents and music therapists profess to make the most impact on language acquisition development in their child diagnosed with Autism Spectrum Disorder, aged 3–8? Participants included ten family units in southern California and six music therapists in the states of California, Oregon, Idaho and Washington. The participants were asked to provide information pertaining to the language ability of their child/client before and after participating in music therapy. Results showed an increase in word utterance, progress toward special education goals, emotional wellbeing, expressive communication in the home and community, and an increase in social skills. The language ability of the children before and after participating in music therapy sessions ranged from a nonverbal state to singing songs, from using gestures to speaking three to four word phrases, from using language without pragmatics to making friends, and from uttering one to two word phrases to regulating their emotions.
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Rechel, Lynn Marie. "The effect of singing tempo during specific song acquisition of preschool aged children." Thesis, University of Hartford, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3559858.
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The purpose of this study was to investigate the effect of singing tempo during specific song acquisition of preschool aged children. The study had two research questions: 1. What is the effect of slow and fast singing tempos on preschool children’s performance of musical components (melody, rhythm, and text, individually and combined) of a duple major song over time? 2. Will children’s performance tempo be the same as or similar to the presented instructional tempo?
Participants were randomly assigned by classroom to Tempo Group A (120 beats per minute) or Tempo Group B (60 bpm). A three week pilot study ( N = 14) validated the teaching procedures, recording procedures, and the scoring rubric. During the six week main study, participants ( N = 50) were exposed to the song 30 times. Three judges evaluated individual performance recordings from the pilot study and the individual midpoint and final performances from the main study in three dimensions: melody, rhythm, and text.
Interjudge reliabilities were calculated using a Pearson product moment reliability. Data analysis used a two-way Multiple Analysis of Variance (MANOVA) with repeated measures for the individual components and an Analysis of Variance (ANOVA) with repeated measures for the composite score. The melodic scores, the rhythmic scores, the text scores, and the composite scores showed statistically significant growth for both groups from the week three recordings to the week six recordings. There was no statistically significant difference between the instructional tempo groups.
The mean of complete performances for both tempo treatment groups moved toward the center of the tempo range (60–120 bpm) Using a t -test, the change in performance tempo from instructional tempo was statistically significant. Further research is needed for specialized groups (English as a Second Language, developmental delays, and different tonalities/meters).
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Newell, Mary Kathleen. "Effects of Movement Instruction on Children's Singing Achievement Scores." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/226345.
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Music EducationPh.D.
The purpose of this research was to investigate the effects of movement instruction on children's singing achievement scores. When controlling for age, four overarching questions and nine sub-questions were asked. First, when controlling for age, how do pitch achievement scores at the outset compare to pitch achievement scores after movement instruction? 1) Is there a significant main effect of type of instruction on children's pitch achievement scores (between subjects)? 2) Is there a significant main effect of time on children's pitch achievement scores (within subjects)? 3) Is there a significant instruction and time interaction? Second, when controlling for age, how do rhythm achievement scores at the outset compare to rhythm achievement scores after movement instruction? 4) Is there a significant main effect of type of instruction on children's rhythmic achievement scores? 5) Is there a significant main effect of time on children's rhythmic achievement scores? 6) Is there a significant instruction and time interaction? Third, when controlling for age, how do singing voice development scores at the outset compare to scores after movement instruction? 7) Is there a significant main effect of type of instruction on children's singing voice development scores? 8) Is there a significant main effect of time on children's singing voice development scores? 9) Is there a significant instruction and time interaction? Fourth, descriptively, what is the effect of gender on students' pretest and posttest pitch achievement scores, rhythm achievement scores, and singing voice development measure scores? Second, third, and fourth grade students (N = 143) participated in the study. Subjects were randomly assigned to one of three treatment groups receiving different instruction: steady beat movement, continuous fluid movement, or a control group receiving no movement instruction. A researcher-designed criterion song was used as a pretest and posttest measure. Pitch and rhythm achievement scores were assessed using Praat Software. Three raters assessed singing performances using Rutkowski's Singing Voice Development Measure. Three split-plot Analyses of Covariance were run on the data. Results indicated that there was a significant interaction between treatment and time on pitch achievement scores. Post hoc analyses revealed no significant differences among treatment groups for pitch achievement scores. Results indicated that there was a significant interaction between treatment and time for Singing Voice Development Measure scores. Post hoc analyses revealed that the treatment group receiving continuous fluid movement significantly outscored the treatment group receiving steady beat movement. No significant differences were found on rhythm achievement scores. Descriptively, females outscored males on pitch, rhythm, and singing voice development measure scores for both pretest and posttest measures.
Temple University--Theses
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Stanutz, Sandy. "Pitch discrimination and melodic memory in children with autism." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86728.
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Objective: The current research indicates that those with autism have an excellent memory for pitch. Persons with autism have better pitch discrimination and memory for individual notes. The purpose of this study was extend this research in school aged children, comparing pitch discrimination and melodic memory of children with autism to that of typically developing children.Method: Twenty-five children with autism between the ages of 8-12 and 25 typically developing children within the same age range participated in the study. Children completed pitch discrimination tasks in two differing contexts. In one context, children were asked to indicate whether two pitches were the same or different when the two pitches were either the same or one note of the pair had been altered so that it was 25, 35, or 45-cents sharp or flat. In the other context, children were asked to discriminate whether two melodies were the same or different when the leading tone of each melody was either the same or had been altered so that it was 25, 35, or 45-cents sharp or flat. In addition, children were also asked to recall melodies one week after they were paired with pictures during a familiarization task. All the tasks in the study were formatted on computer.
Results: Children with autism outperformed typically developing children in both pitch discrimination contexts. Children with autism were superior to typically developing children when remembering melodies one week after they had been paired with animal pictures.
Conclusion: Children with autism demonstrated better pitch discrimination and melodic memory than typically developing children. These abilities may be genetic, as the majority of the participants in the study had limited music training. Alternatively, these abilities could be reflective of a different developmental process in the auditory modality of children with autism whereby developmental differences in auditory perceptions may be adaptive in some musical contexts.
Objectif: Les recherches actuelles démontrent que les personnes autistiques discernent mieux la hauteur des sons et ont une meilleure mémoire des sons individuels. La présente étude vise à étendre la recherche aux enfants d'âge scolaire en comparant, chez les enfants autistiques par rapport aux enfants qui se développent normalement, le discernement de la hauteur des sons et la mémoire mélodique.
Méthodologie: Vingt-cinq enfants autistiques ainsi que 25 enfants ayant un développement normal, tous âgés de 8 à 12 ans, ont participé à l'étude. Placés dans deux contextes différents, les enfants ont effectué des tâches faisant appel à leur capacité de discerner la hauteur des sons. Dans le premier contexte, les enfants devaient indiquer si deux sons étaient semblables ou différents lorsque les deux sons étaient les mêmes ou lorsque l'un d'eux avait été modifié pour être plus aigu ou plus bas de 25, 35, ou 45-cents. Dans l'autre contexte, les enfants devaient dire si deux sons mélodies étaient les memes ou si elles étaient différentes lorsque chacune des melodies étaient la mêmes ou si elles étaient différentes lorsque la sensible de chacune des melodies étaient soit la même, soit qu'elle avait été modifiée pour être plus aigue ou plus basse de 25, 35, ou 45-cents. En outre, les enfants devaient aussi se remémorer des mélodies qui, la semaine précédente, avaient été associées à des images d'animaux au cours d'une tâche de familiarsation. Toutes les tâches accomplies par les enfants au cours de l'étude ont été effectuées sur ordinateur.
Résultats: Les enfants autistiques ont mieux réussis que les enfants ayant un développement normal et, cela, dans les deux contextes de discernment de la hauteur des sons. Ils ont aussi été supérieurs lorsqu'il a fallu se remémorer des melodies une semaine après qu'elles eurent été associés à des images d'animaux.
Conclusions: Les enfants autistiques ont démontré que leur jugement de la hauteur des sons et et leur mémoire mélodique étaient meilleurs que ceux des enfants ayant un développement normal. Ces habiletés pourraient être innées étant donné que la majorité des participants á l'étude avaient une formation musicale limitée. Par ailleurs, ces habiletés pourraient être le signe d'un processus développemental different des attributs auditifs des enfants autistiques, ces différences développementales des perceptions auditives pouvent comporter une capacité d'adaptation à certains contextes musicaux.
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Youm, Hyun Kyung Sims Wendy L. "South Korean parents' goals, knowledge, practices, and needs regarding music education for young children." Diss., Columbia, Mo. : University of Missouri--Columbia, 2008. http://hdl.handle.net/10355/6618.
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Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy Sims. Vita. Includes bibliographical references.
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Chen, Hsiao-Shien. "Effectiveness of the special music programs in Taiwan for educating talented and gifted young musicians /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120615.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 250-260). Also available for download via the World Wide Web; free to University of Oregon users.
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Brodhead, Daniel A. "Effects of instruction on first, second and third grade children's ability to decenter when assessed on discrimination between contrasting musical characteristics." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1812.
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This experimental study sought to determine the effect of instruction on the abilities of first through third grade children to single and double discriminate contrasting musical characteristics. Six samples were used.
The experimental variable consisted of four sessions designed to teach children to distinguish between fast/slow and smooth/choppy musical excerpts. Subjects were tested on their single/double discrimination abilities following the treatment sessions. Results show that first and second grade experimental groups scored significantly higher on single discrimination items than their control groups. On the double discrimination accuracy section the experimental second, third and control first graders were significantly higher than their counter-groups.
These findings demonstrated that the four treatment sessions have a profound effect on first and second grade children's abilities to make single discriminations. They also show that success in making double discriminations may depend more on the individual subjects. Further investigation would be beneficial.
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Chivington, Amy D. "The Effect of Differential Choral Group Instruction on Children's Vocal and Rhythmic Performance of Taught and Transfer Patterns." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391781895.
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Sun, Derjen Jeney. "Teaching young children compositional concepts to enhance music learning in a computer learning environment." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244216827.
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Kim, Young-Mi. "Didactic strategies for the use of lyrics in religious education." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/49911.
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Thesis (PhD)--Stellenbosch University, 2004.ENGLISH ABSTRACT: The purpose of this study is to identify didactic strategies for the use of lyrics in children's religious education. This is done to enhance and facilitate children's spiritual growth by means of singing lyrics. The study pays particular attention to the recognition of the role of lyrics in Christian religious education as a maturing agent. Lyrics help to provide children with the opportunity to communicate with God by revealing God's characteristics through theoretical and doctrinal content in an artistic form. Lyrics enrich children's religious development by helping them to express their joy and praise of God. Lyrics can also help children to experience a special quality of fellowship when they sing together. Lyrics ease the stiffness which can occur during the process of education. The survey of lyrics in Christian history also reveals that lyrics played an essential role in the lives of Christians throughout history. Lyrics have been used for worship, education, evangelisation and fellowship. Lyrics have functioned as a medium in which people have conversations with God and worship Him. They have also been a delightful source through which people learn about God through joyful experiences. Lyrics have helped Christians to establish true fellowship in their faith by singing together. The study reveals, however, that lyrics today do not seem to be effective in supporting people, including children, in their encounters with God. As much as lyrics can help children, they can also be obstacles to children's spiritual growth because of their inappropriate contents or improper ways of presentation. Children might misunderstand religious concepts by acquiring "unfamiliar" doctrine from lyrics. It seems that children can also develop inappropriate ideas and attitudes about worshipping under the influence of self-oriented or fun-seeking styles of lyrics. This potential of lyrics to influence children either positively or negatively is often overlooked. The question that may be raised is: what should be done to facilitate the lyric's maturing role and to keep it from being a hindrance in children's religious education? This study attempts to identify systematic and scientific didactic approaches of teaching lyrics as a way of heightening the positive role of lyrics in children's spiritual growth. For the identification of didactic strategies which are best suited for children's spiritual growth, the study presents approaches in which systems of coherent ideas, findings, activities and views concerning instruction and learning are performed. The didactic strategies are illustrated in three main phases, i.e. introductory, executive and assessment phases. Essential characteristics of the instruction-learning phenomenon in all its facets are absorbed into the theory as an overall guide for every teaching situation. The study makes an effort to apply these didactic strategies to the practical situation of teaching lyrics. Korean children are chosen as the subjects for the teaching oflyrics and their religious development is empirically investigated as the basic research on the understanding of the learner in the didactic situation. The application of the general approaches to the definite and specific situation of teaching Korean children is explained. Didactic approaches are redesigned, taking the specific didactic situation of Korea, including Korean children's specific religious characteristics, into consideration. These programmes can be effectively applied to other didactic situations, keeping them flexible in the light of the uniqueness of each lesson. The ultimate aim of this study - the recognition of systematically organised didactic strategies and exemplification of their practical application to the detailed situation of teaching lyrics - is to maximise the effectiveness of lyrics for children's spiritual goodness, particularly in enriching children's religious knowledge and experience.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om didaktiese strategieë te identifiseer vir die gebruik van lirieke in kinders se religieuse opvoeding. Dit word gedoen om leerders se sprituele groei deur middel van die sing van liedjies te fasiliteer. Die studie fokus in die besonder op die herkenning van die rol wat lirieke, in hoofsaaklik Christelike religieuse onderrig, in die proses van volwassewording speel. Lirieke verskaf aan kinders die geleentheid om met God te kommunikeer deurdat God se eienskappe deur middel van teoretiese en dogmatiese inhoud as 'n vorm van kuns openbaar word. Lirieke verryk kinders se religieuse ontwikkeling deurdat dit hulle help om hul blydskap en eer vir God uit te druk. Lirieke kan kinders ook help om 'n besondere kwaliteit van gemeenskap ("fellowship") te ervaar wanneer hulle saam sing. Deur die gebruik van lirieke kan die stramheid wat dikwels met die opvoedingsproses gepaard gaan, in 'n groot mate verlig word. Die opname wat van lirieke in die Christelike geskiedenis gedoen is toon aan dat lirieke dwarsdeur die geskiedenis 'n baie belangrike rol gespeel het in die lewens van Christene. Lirieke is deur die eeue gebruik vir aanbidding, opvoeding, evangelisasie en geloofsgemeenskap. Lirieke funksioneer as 'n medium waardeur mense in gesprek tree met God en Hom aanbid. Dit dien ook as 'n bron waardeur mense deur vreugdevolle ervaring van God leer. Lirieke help Christene om ware geloofsgemeenskap deur hul samesang te bewerkstellig. Dit blyk uit die studie dat lirieke vandag nie meer effektief is om mense, insluitende kinders, in hulontmoeting met God te ondersteun nie. Alhoewel lirieke kinders kan help, kan hulle in dieselfde mate struikelblokke wees in kinders se sprituele groei weens onaanvaarbare inhoud of onvanpaste aanbieding. Kinders kan religieuse konsepte misverstaan deurdat hulle met "vreemde" dogmas vanuit lirieke gekonfronteer word. Dit blyk dat kinders ook onaanvaarbare idees en houdings oor aanbidding kan ontwikkel weens die invloed van die selfgeoriënteerde of pretsoekende styl van sommige lirieke. Die potensiaal van lirieke om kinders óf positief óf negatief te beïnvloed word dikwels misgekyk. Die vraag wat ontstaan is: Wat moet gedoen word om die lirieke se rol in die verwerwing van volwassenheid te fasiliteer en te verhoed dat dit 'n hindernis in kinders se religieuse opvoeding word? Hierdie studie poog om sistematiese en wetenskaplik-didaktiese benaderings te identifiseer om die onderrig van lirieke te bevorder ten einde die positiewe rol van lirieke in kinders se spritiuele groei te versterk. Om didaktiese strategieë te identifiseer wat die beste by kinders se spirituele groei pas, bied die studie benaderings aan wat stelsels van samehangende idees, bevindinge, aktiwiteite en sieninge betreffende onderrig en leer behels. Die didaktiese strategieë word in drie hooffases geïllustreer, nl. die inleidende fase, die uitvoerende fase en die assesseringsfase. Essensiële kenmerke van die onderrig-leerverskynsel in alle fasette daarvan is in die teorie opgeneem as 'n allesomvattende riglyn vir elke leersituasie. Die studie poog voorts om hierdie didaktiese strategieë toe te pas in 'n praktiese lirieke-onderrigsituasie. Koreaanse kinders is gekies as proefpersone vir die onderrig van lirieke, en hul religieuse ontwikkeling is empmes ondersoek as die basiese navorsing ten opsigte van die begrip van die leerder in die didaktiese situasie. Die toepassing van die algemene benaderings tot die bepalende en spesifieke situasie van onderrig aan Koreaanse kinders word verduidelik. Didaktiese benaderings word herontwerp met inagneming van die spesifieke didaktiese situasie in Korea. Koreaanse kinders se besondere religieuse karaktertrekke word tegelykertyd in aanmerking geneem. Hierdie plooibare programme kan ook effektief op ander didaktiese situasies toegepas word, wat beteken dat hulle by elke unieke les aangepas kan word. Die uiteindelike doel van hierdie studie - die erkenning van sistematies georganiseerde didaktiese strategieë en die toeligting van hul praktiese aanwending in die onderrig van lirieke - is om die effektiwiteit van lirieke vir kinders se sprituele welsyn te optimaliseer en veralom leerders se religieuse kennis en ervaring te verryk.
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O'Neill, Susan A. "Factors influencing children's motivation and achievement during the first year of instrumental music tuition." Thesis, Keele University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318157.
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Mota, Maria da Graca. "Determinants of children's musical development in the early years of general classroom music instruction." Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321695.
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Rossi, Pamela Jayne. "Having an experience: Multiple literacies through young children's opera." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282571.
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The purpose of this case study is to examine the nature and uses of multiple literacies in an Opera Project as experienced by school children who attended a bilingual first grade in a culturally and linguistically diverse urban school district in the American Southwest. Thirty-one young children created and produced an opera in collaboration with an artist-in-residence, university researcher, apprentice teacher, and their classroom teacher and parents. Significant to this research is a focus on the perspectives of the participants about this in-school multiple literacy experience as well as the sociocultural contexts that influenced their experience. In addition, this study provides evidence of the processes, types, and uses of multiple literacies in young children's opera. By working at the nexus of language arts/literacy and music/arts education, this research builds on the existing theories and practices in these disciplines and informs both. A review of the literature points to the gap between a reductionist, deficit-driven paradigm in schools and children's natural learning proclivities. Culturally and linguistically diverse children are considered as less capable and further marginalized by school practices that emphasize decontextualized and verbocentric forms of literacy. This study uses ethnographic techniques and an arts-based approach to educational research to examine 24 one hour sessions of an Opera Project. New understandings were rendered in an opera libretto, constructed in the vernacular of the participants with the personal signature of the researcher. This alternative genre contributes to changing the way we think about language arts. A reconceptualization of language arts/literacy that both includes and goes beyond a skills-with-print definition requires a transformation in the way educators think about meaning making and curriculum, intelligence and knowledge, perception and expression. It requires an unpacking of one's assumptions and perspectives about what it means to have an experience and to live a literate life. For this process to be sustained, a wider audience must have access to young children's opera as (1) semiotic apprenticeship, (2) inquiry, (3) synergy, (4) an awakening to multiple literacies, and (5) survival. In this way art as conscious life is literacy for life's sake. Many ways is the way.
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Forrest, David Lawrence. "The educational theory of Dmitri Kabalevsky in relation to his piano music for children." Connect to thesis, 1996. http://repository.unimelb.edu.au/10187/1164.
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This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children.A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study.
Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study.
An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children.
Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972).
A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.
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Retra, José. "Music is movement : a study into aspects of movement representation of musical activities among preschool children in a Dutch music education setting." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3189.
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Musical activities are at the centre of Music on the Lap, a Dutch approach to early childhood music education. The present study takes an in-depth look at the role of movement in these musical activities and thereby focuses on the representation of musical elements through movement. This study has among its aims the raising of more awareness for the conscious use of movement in early childhood music education. Departing from an embodied approach within an interpretative design, the premise of the current study is that movement should be considered an important form of kinaesthetic representation through which preschool children can come to understand and learn different aspects of music. The musical movement responses of children aged 18 to 36 months in a regular Music on the Lap setting were investigated. The musical movement behaviour of the children, during specific musical activities, was captured on DVD and the individual responses of 27 children were analysed. Interviews with the participating teacher provided important additional information. Through microanalysis of the children’s movements, the study arrived at a theoretical interpretation: movement responses to music can be considered enactive symbols, creating direct and indirect representations of musical characteristics. To further musical learning the movements should be firmly based in a temporal framework of aural and verbal connotations in order to stimulate purposeful movement responses. This temporal framework should be structured by the teacher through a process of appropriate movement models and verbal guidance to arrive at meaningful movement actions, which can consequently generate implicit and explicit musical kinaesthetic and musical representational knowledge. In this process the children are actively participating to construct with body and mind their own musical knowledge.
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Fiveash, Denise. "Music as an educative enrichment medium for the remediation of children with reading problems." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/14956.
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Bibliography: leaves 168-172.The primary focus of this dissertation was work with a group of children who were experiencing problems in reading and to formulate strategies which incorporates an innovative approach using music. Many learning problems encountered today could be avoided if children's earliest backgrounds were rich in songs, poems set to music, nursery rhymes and musical games. It is necessary for a child to experience rhythm in every possible way to enable him to read with a flowing rhythm and a pleasant intonation. A child must be able to feel and experience the rhythm of the spoken word by repeating rhymes, phrases, chanting children's names, for example. This is done by tapping the word, using body movements (clapping, stamping) and transferring this rhythm to percussion instruments while experiencing the speech rhythm. Many approaches have been used with children who are disabled readers and none use music as a tool. The progress of these children has therefore been slow, tedious and not always successful. Music has not been used before as an approach to assist children with reading disabilities. In this dissertation it has been proved that music helps children overcome their reading problems, as it is the only approach which offers total involvement of the child and therefore the best results are achieved. All children involved in the research enjoyed the activities and derived great pleasure from performing them unaware that the process of remediation was taking place.
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Berke, Melissa Kay. "The ability of preschool children to recognize chord changes and audiate implied harmony." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289135.
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The purpose of this study was to determine if preschool children, specifically three- and four-year olds, were able to demonstrate recognition of chord changes and identify implied tonic-dominant chord changes as a result of age-appropriate instruction focusing on harmony. Sixteen preschool children (7, three-year-olds; 9, four-year-olds) were given 10, 15-minute lessons that consisted of activities designed to enhance their awareness of harmony. Following instruction, students were given a test that measured their ability to recognize chord changes with regular and irregular harmonic rhythm. Furthermore, subjects were asked to demonstrate audiation of the implied harmony in three unaccompanied melodies by performing chord changes on an electronic keyboard. Results indicated that preschool children (94%) could recognize tonic-dominant chord changes, especially when they occurred in a regular harmonic rhythm. A majority of students (69%) also showed mastery when chords were played in an irregular harmonic rhythm. Students were unable to demonstrate mastery in any of the audiation tasks. Following the 10-week treatment, eight of the original subjects continued for an additional 10 sessions. Instructional and testing procedures remained the same. The scores from the 10- and 20-week tests were compared using a repeated-measures ANOVA. Students showed significant improvement in their ability to recognize chord changes that were played in an irregular harmonic rhythm. A moderate correlation was found to exist between age and this same task.
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Michels, Patricia. "The role of the musical intelligence in whole brain education." Diss., Pretoria : [s.n.], 2001. http://upetd.up.ac.za/thesis/available/etd-06142002-125955.
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Gang, Na-Hyun. "Action research : an exploration of a music therapy student's journey of establishing a therapeutic relationship with a child with autistic spectrum disorder in music therapy : a thesis submitted to the New Zealand School of Music in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1081.
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Jacobi-Karna, Kathleen Louise. "The effects of the inclusion of text on the singing accuracy of preschool children." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290632.
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The purpose of this study was to determine whether children sing more accurately when taught songs on a neutral syllable or when they are taught with the original text. The subjects (N = 89), ages 3 to 5 years old, were enrolled in three preschools in Eastern Maryland. The children were randomly assigned to groups and then each group was randomly assigned to one of two treatments. The Text Method retained the text of all songs sung during the treatment period. The Neutral Syllable Method removed the original text of all songs sung during the treatment period and replaced it with a neutral syllable such as loo or lah. The subjects participated in two 30 minute classes per week for eight weeks. Lesson activities included singing, moving, listening to music, and playing a variety of small, hand-held percussion instruments. The Singing Accuracy Test (Posttest I) was administered individually to each child during the study's ninth week. The test required the child to echo the test song in phrases and then the song in its entirety. A second treatment occurred during week 11 in order to present the song material to the subjects in the opposite manner. A second test (Posttest II) concluded the study in week 12. Repeated Measures ANOVAs, t-Test for Independent Samples, t-Test for Correlated Samples, and Newman-Keuls Post-Hoc Comparisons were used to measure mean differences and interaction in the data. Results of the study indicated no significant difference of scores between the treatment groups due to the method of instruction. However, a closer investigation comparing differences between age groups revealed that the 4-year-old children scored significantly higher when singing the text of the song. Finally, a significant difference was found for all subjects when comparing phrase performance scores to whole song performance scores for Posttest I and Posttest II. The results suggest that 4-year-old children sing more accurately when performing songs with text. Further, it appears that young children are more accurate when singing a song in phrases then when singing a song in its entirety.
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Taetle, Laurie Daniels. "The effect of active and passive music instruction on the spatial ability of kindergarten children." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288984.
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This study expands prior research demonstrating a relationship between electronic piano keyboard instruction and increased spatial ability in preschoolers (Rauscher, F. et al., 1993, 1994, 1997). Spatial ability was assessed after active music instruction using Orff xylophones, active singing instruction, or a passive listener-oriented approach. Kindergartners (N = 68) from 3 intact classrooms, stratified for gender, were randomly assigned to 3 groups: (1) xylophone (n = 28), (2) singing (n = 26), and (3) passive music (n = 14). The lessons for active groups 1 and 2 were identical except for the variable of xylophone instruction. Children learned the same songs, movements, unpitched instrument accompaniments, and read the same simple iconic musical notation. However, during part of the lesson group 1 used xylophones as accompaniments and to sight-read iconic notation, while group 2 (singing) continued to use unpitched instruments as accompaniments and Kodaly hand-signals to sight-read the same iconic notation. Passive group 3 did no singing, playing, moving, or music reading but listened to and talked about music. The instructor taught bi-weekly 30-minute music classes for 4 months; IQ's were measured using 5 subtests (Performance Scale) of the Weschler Primary and Preschool Intelligence Scale - Revised (WPPSI - R) (1989) by a school psychometrist. To control for WPPSI - R practice effects, half of group 1 (n = 14) and group 2 (n = 14) were pre-tested while half of group 1 ( n = 14) and group 2 (n = 12), and all of group 3 (n = 14) were not pre-tested. All were post-tested six months later. There were no practice effects. To compare groups raw scores were used as there were no significant age differences among groups. No significant differences were found. However, consistent with other studies a trend (p < .06) towards enhanced performance on the xylophone group's Object Assembly (OA) subtest was found when compared with the passive music group. A similar trend (p < .06) was found on Block Design, the subtest that most highly correlates with OA. A ceiling effect may have constrained growth due to music instruction as 21% of the xylophone group's OA scores were perfect or near perfect.
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Holliger, Yolanda Margaret. "An investigative study on developing divergent thinking responses in children using a cognitive approach in music education /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10742050.
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Koseff, Davidah. "The development of rhythm in young children aged one to four years." Scholarly Commons, 1987. https://scholarlycommons.pacific.edu/uop_etds/2143.
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The aim of this study was to assess how young children between the ages of one and four years develop rhythm skills. The project was a pilot study conducted at 11 preschools and day care centers in Stockton, California, and included 60 children. Thirty behaviors comprised the test of various aspects of rhythmic performance. The children were video-taped and the tapes were then analyzed. By examining how many children in a particular age group could perform a particular task, a sequence became apparent. This body of research can now be used as a basis for further studies with the aim of establishing a standardized assessment scale of rhythm development and other musical skills.
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Akuno, Emily Achieng. "The use of indigenous Kenyan children's songs for the development of a primary school music curriculum for Kenya." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1997. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.363106.
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Smal, Dina-Maré. "Die invloed van musiekonderrig op die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteit." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/70176.
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Thesis (MA) -- University of Stellenbosch, 2004.ENGLISH ABSTRACT: This study was undertaken with a view to evaluate the effect of music education on the self-concept of the learner with attention deficit hyperactivity disorder. Four learners diagnosed with attention deficit hyperactivity disorder were asked to participate in a music program presented for two terms by the researcher. The selfconcept of the learners was recorded through interviews and questionnaires by the learners and their parents before the study commenced. Observations by the researcher and objective observer were used to monitor the learners' progress during the course of the lessons. After the completion of the music program the learners and their parents were again asked to participate in an interview and to complete a questionnaire. This study revealed that music education is a great enjoyment to these learners and the self-concept and self-confidence of some of the learners improved. A literature review was done in order to obtain a perspective on attention deficit hyperactivity disorder. A historical overview provided insight into the development of this disorder necessary to describe it properly. The study also focuses on various intervention techniques which can be used by parents and teachers. In addition, the study focuses on the role of music education and music practice on the various developmental levels of the learner and how music can indeed affect relaxation and be responsible for lifelong learning. It is recommended that the learners continue with mUSIC education, because it provides them with a sense of success and it plays a vital role in the cognitive development of the learner. This, in tum, leads to lifelong learning: an influence that will remain an irrevocable part of the child for the rest of his/her life.
AFRIKAANSE OPSOMMING: Hierdie studie is onderneem met die doelom die uitwerking van musiekonderrig op die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteit te evalueer. Vier leerders wat gediagnoseer is met aandagafleibaarheid-hiperaktiwiteit is genader om 'n musiekprogram, aangebied deur die navorser, vir twee kwartale by te woon. Die selfbeeld van die leerders, wat vooraf deur middel van onderhoude en vraelyste deur die leerders en hulouers voltooi is, is geëvalueer. Die leerders se vordering is tydens die lesse deur middel van observering en objektiewe waarneming bepaal. Na afloop van die musiekprogram is die leerders en hulouers weer gevra om 'n onderhoud en vraelys te voltooi. Uit die studie blyk dit dat musiekonderrig 'n groot mate van genot vir die leerders is en daar was 'n verbetering in selfbeeld en selfvertroue by sommige van die leerders. 'n Literatuuroorsig bied insig oor die omvang van aandagafleibaarheid-hiperaktiwiteit en 'n historiese oorsig oor die verloop van die proses wat tot 'n beskrywing van die versteuring lei, word bekyk. Die verskeie intervensie-tegnieke wat deur ouers en opvoeders toegepas kan word, word bespreek. Verder word die rol wat musiekonderrig en musiekbeoefening op die verskillende ontwikkelingsvlakke van die leerder speel aangespreek, asook hoe musiek 'n ontspannende effek kan hê en verantwoordelik kan wees vir lewenslange leer. Dit word aanbeveel dat leerders volhou met musiekonderrig, omdat dit 'n gevoel van sukses verskaf en 'n belangrike rol speel in die leerder se kognitiewe ontwikkeling. Laasgenoemde is gevolglik verantwoordelik vir lewenslange leer: 'n onherroeplike invloed op die leerder vir die res van sy/haar lewe.
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Wiemken, Patricia E. "A comparison of structured versus unstructured composition tasks as assessments of first grade children's understanding of ABA form and rhythmic and timbre differences." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174928591.
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Zafranas, Nikolaos. "The effects of piano-keyboard instruction on cognitive abilities of female and male kindergarten children." Thesis, Brunel University, 2003. http://bura.brunel.ac.uk/handle/2438/5350.
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In several studies, children who received piano instruction achieved better results on spatial-temporal tasks than various control group children did. This difference, though, was not always statistically significant. Gender differences favouring boys in spatial abilities appear to exist in children as young as 4 1/2 years old. However, research linking piano instruction to spatial abilities did not report gender differences. This thesis had three main investigative objectives: to control if children would show significant improvement in cognitive test scores following piano-keyboard instruction; to compare if certain cognitive tasks such as the spatial tasks would show greater improvement than other, non-spatial, tasks; to examine if the effects of pianokeyboard training on spatial tasks are gender differentiated. Sixty-one kindergarten children, aged five to six years, participated in this research receiving two piano-keyboard lessons weekly during the school year 2001-2002. Six subtests from the Kaufman Assessment Battery for Children were administered before and after the instruction period. Results revealed that participants improved significantly in the Hand Movements, Gestalt Closure, Triangles, Spatial Memory, and Arithmetic tasks following pianokeyboard instruction. No significant improvement was found in the Matrix Analogies task. Pre-tests in all sub-tests showed no significant gender differences. At post-testing though, boys significantly outperformed girls in the Hand Movements task while their gain scores were significantly higher than girls' scores in the Triangles task. This research has demonstrated that piano-keyboard instruction produced enhanced spatial-temporal test scores in kindergarten children, and that these scores were gender differentiated. These findings are unique in presenting a gender difference in gain scores following piano-keyboard instruction favouring boys. It is hoped that these findings contribute to the growing body of research investigating the extra-musical effects of music instruction and that in the future, kindergarten program administrators might consider music and piano-keyboard instruction as an integral part of kindergarten education.
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Waters, Heather Dawn. "Adults and Young Children as Music Co-Researchers: Narratives from a Play-Based, Reggio-Emilia-Inspired Preschool." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/330208.
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Music EducationPh.D.
This research continued a line of inquiry previously established at Project P.L.A.Y. School, a play-based, Reggio-Emilia-inspired preschool in Elkins Park, Pennsylvania, the purpose of which was to explore what can happen when young children and adults co-construct music in a social, relationship- and play-based environment. Three questions initially guided this study: 1) How does musical content emerge? 2) How is music play developed in this setting? 3) How do children and their teachers story their music experiences? Using narrative and heuristic approaches to inquiry, I, along with my co-researchers, highlighted ways to make children's musical learning audible and visible. Having been a member of this community in the dual role of musical play partner and researcher since fall of 2012, I framed this dissertation study to encompass the weeks of September 16 through December 18, 2014. During that time frame, I increased my visits from once to twice weekly, with fourteen children aged 2.5 through 5 years old, five of whom I knew from the previous year, and five other adults. As both a play partner and researcher, I continued my role as music facilitator who views young children as competent and capable co-music researchers. Amidst other stories, I increased focus as I continued a pedagogy of close listening to children as music co-researchers. Living alongside each other at Project P.L.A.Y. School, children and adults generated and collected shared musical stories. Data sources for this study included audio and video recordings, photographs, artifacts such as artwork and musical notation, and my research notes and journal. I continued using narrative and heuristic approaches to inquiry, and restoried narrative vignettes highlighting children and adults as music co-researchers. From the resulting grand narrative, I found that shifting lenses and all adults mindfully viewing these young children as competent music researchers facilitated and supported children's creative, multimodal expressions of their research interests. Viewing children's and adults' interactions through the lens of co-music researchers lead to abundant, creative musical expression from children and adults alike. Musical content emerged when adults and children interacted as music co-researchers and protagonists in their shared stories. This inquiry generated the following additional questions: 1) How can adults best facilitate young children's musical research interests? 2) How can adults and young children make their collaborative research audible and visible? Implications from this study include encouraging all adults to adopt a pedagogy of listening, to notice and value children's creative musical expressions, and to value children's musical lines of inquiry as researchers.
Temple University--Theses
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Rowley, Terra E. "The effect of music therapy as a behavior intervention for preschoolers in a Head Start program." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1344447.
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Behavioral competencies are important elements of school readiness and make up an important component in any preschool curriculum. In this study, music therapy was implemented in a Head Start preschool program as a behavioral intervention. Forty-five subjects received music therapy sessions in groups of six to ten children for 25 minutes, twice weekly. The first treatment group received music therapy intervention along with the regular curriculum for eight weeks while the other subjects participated in the regular curriculum only. The second eight weeks, the second treatment group received music therapy intervention along with the regular curriculum while the first group participated in the regular curriculum only. Head Start teachers used the Behavioral Objective Sequence to assess all students at the beginning, in the middle and at the end of the sixteen week period. Results indicated a significant increase in positive behavioral competencies associated with the music therapy intervention. Additionally, the music therapy intervention had a stronger impact on older students (ages five to six years) versus younger students (ages three to four years).Department of Special Education
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Savaiinaea, Chelsea Makere. "Challenges in communication : a critical analysis of a student music therapist's techniques in working with special needs children : a thesis submitted to the New Zealand School of Music in partial fulfilment of the requirements for the degree of Masters of Music Therapy /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1082.
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Filsinger, Kerry Bradley. "Webs of Interactions: International Perspectives on Cultural Music Mediation Among Adults and Young Children." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216517.
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Music EducationPh.D.
In this qualitative phenomenological inquiry, I explore how an international group of early childhood music teachers describe creating music-learning environments for young children. As members of the Early Childhood Music Education Commission of the International Society for Music Education, the nine research participants share a common interest in contributing to early childhood music education. I was interested in understanding how members of that group perceived creating music-learning environments for young children. I wondered: What are early childhood music teachers' perceptions of music-learning environments for young children; What shapes their perceptions; and How do early childhood music teachers strive to create an environment conducive for young children's music learning? Using tenets of narrative inquiry, I restory this study as a conversation in a coffee shop. Imagine there's an international early childhood music conference in your town. During a conference break, I walk into your favorite coffee shop. You stand in a long line waiting to order. I walk in and take my place behind you in line, and we begin a conversation about children's music learning. Eventually, colleagues who are attending the conference (i.e., the nine research participants) join us. During our conversation, you and I discuss our experiences with understanding and creating early childhood music-learning environments. Next, we talk with the nine research participants about how they create music-learning environments for young children and I reveal the essence of their shared experience: participants view themselves as cultural music mediators, believing it is their job to mediate music interactions among adults and young children. Finally, you and I discuss implications for parents, early childhood music teachers, early childhood general education teachers, and pre-service music and general education teachers. We talk about ways they can become cultural music mediators, and create webs of music interactions for adults and young children. After reading this study, I invite you to visit my Facebook page, Music-Learning Environments for Young Children, to contribute thoughts and questions.
Temple University--Theses
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Reese, Jill Alyse. "Adult Identification of Meaningful and Intentional Music Behaviors Demonstrated by Young Children." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/148944.
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Music EducationPh.D.
The purpose of this research was to investigate how adults identify music behaviors of young children in play-based early childhood settings. The research questions were (1) Are there statistically significant effects of training, parental status, or direction condition on the number of individual musical acts identified by adults? (2) How does response latency vary based on training, parental status, and direction condition? (3) Of the music acts identified by the subjects, what types of music acts are identified as consensus acts (those identified by 75% of subjects or more within any three-second window)? and, (4) How do consensus acts differ with regard to type, frequency, and difficulty? Seventy-two adults (24 child development teachers, 24 early childhood music teachers, and 24 musicians) participated in the study. Of the 24 subjects in each group, half were parents, and half were nonparents. Subjects were randomly assigned equally to two direction conditions: Meaningful Direction Condition and Intentional Direction Condition. Subjects watched video of young children (five to fifteen months old) and adults interacting musically in a play-based early childhood setting. Subjects in the Meaningful Direction Condition pressed the space bar on a computer when they thought any child in the video demonstrated a meaningfully musical behavior; subjects in the Intentional Direction Condition pressed the space bar when they thought any child in the video demonstrated an intentionally musical behavior. When each subject pressed the space bar, a computer program recorded time stamp data. Subjects in the Early Childhood Music Teacher (ECMT) group identified significantly more music behaviors than subjects in the Child Development Teacher (CDT) group and the Musician group. There were no significant differences in the total number of music behaviors identified according to parental status or direction condition. Subjects in the ECMT group agreed statistically significantly more often than adults in the CDT group and the Musician group that behaviors demonstrated by children in the video were music behaviors. Adults in the Parent group agreed statistically significantly more often than adults in the Nonparent group that behaviors demonstrated by children in the video were music behaviors. When adults identify consensus acts, young children's music behaviors contain common features: beat-related movements and vocalizations. Adults in the ECMT group agreed significantly more often than adults in the CDT group and the Musician group that vocalizations demonstrated by young children were music behaviors. Adult ability to identify music behaviors as measured in this study is dependent upon musical training and experience, but not solely. Specialized early childhood music pedagogy may help adults identify behaviors (especially vocalizations) demonstrated by young children as music.
Temple University--Theses