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Dissertations / Theses on the topic 'Children learning instrumental music'
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Ranelli, Sonia. "Playing-related musculoskeletal problems in children learning instrumental music: prevalence and associated potential risk factors." Thesis, Curtin University, 2012. http://hdl.handle.net/20.500.11937/462.
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731 child instrumentalists were surveyed to establish the 1) prevalence and location of PRMP, and 2) independent association of potential risk factors with PRMP. 67% reported lifetime prevalence of PRMP, 56% monthly PRMP and 30% were unable to play the instrument as usual. The hands and neck were the most commonly reported PRMP locations. Individual factors and music-related factors were significantly associated with PRMP. Understanding potential risk factors will guide intervention initiatives for young instrumentalists.
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Morgan, Christopher. "Instrumental music teaching and learning : a life history approach." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284626.
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Walsh, Brenda 1956. "The effects of an alternative instrumental music program on elementary school children." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35225.
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Music education is an important element in the development of the whole child. The school is a place where children learn about and are directly influenced by things that make a lasting impression on their development. What better place for music to be taught? Music is a course of study that can have a direct influence on a child's lifetime tastes and values for the arts.This study investigates the effects of an Alternative Instrumental Music Program on grade three children, at an elementary school situated on the West Island of Montreal, Quebec. One of the two classes involved in the Study (Experimental Group) participated in an alternative instrumental music program and its applications; the other class (Control Group) followed a traditional music program. Each class consisted of twenty-eight students. Quantitative and qualitative data were collected from both groups of students, homeroom teachers, and parents over a period of ten consecutive weeks.
The findings revealed that the children in the Experimental Group enjoyed learning music in school more than those in the Control Group. The Experimental Group also indicated a greater increase in the enjoyment of activities experienced during music class than those in the Control Group. Moreover, there was a higher increase of musical knowledge in the Experimental Group.
The author suggests that further research on the effects of alternative music programs on elementary school children would be beneficial to the educational community.
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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.
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Haddon, Hilary Elizabeth. "Hidden learning and instrumental and vocal development in a university music department." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/4320/.
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This study presents the concept of ‘hidden learning’ and examines this in relation to data gathered from interviews, observation and questionnaires with participating staff, students and instrumental/vocal teachers at a UK university music department noted for its practically-orientated approach to academic study. The study builds on existing knowledge of one-to-one teaching to create understanding of the ways in which hidden learning contributes to music students’ instrumental/vocal development. A preliminary survey gives rise to five cases representing a range of pedagogical approaches, differing degrees of learner autonomy and offering diversity of musical genre, operating within individual, social, student-initiated and departmental contexts, and involving varied personnel. The studies explore reasons for the existence of hidden learning; examine how the learning contexts operate in practice; discover the values that students attach to hidden learning; and reveal how hidden learning relates to the one-to-one lesson. The findings suggest that hidden learning may be unseen by instrumental/vocal teachers and departmental staff and can provide motivating and enabling learning experiences. These develop skills relating to competence, cognition, practice and performance. In addition, more complex learning involving cross-cultural influences may not be consciously articulated by students, thus remaining, to an extent, hidden to the individual as well as to instrumental/vocal teachers and the institution. Through a three-phase process of analysis five meta-themes emerged: 1) disjunctions of values between students and instrumental/vocal teachers, including musical tastes and aims for learning, and between students and the institution; 2) dialogue deficit between students, teachers and the institution; 3) the purpose of instrumental/vocal learning; 4) responsibility for learning, and 5) reflection on learning. The findings illuminate the contribution of hidden learning to instrumental/vocal development, and suggest that there is scope for further pedagogical consideration of provision for instrumental/vocal learning and the role of hidden learning within higher music education.
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Klossek, Ulrike Michaela Helene. "Instrumental learning and the development of goal-directed action in young children." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615102.
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Chess, Susan Lorrainne. "Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123721766.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xiii, 141 p.; also includes graphics (some col.). Includes bibliographical references (p. 127-134). Available online via OhioLINK's ETD Center
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Alexander, Dina. "An investigation of the relationship between the music aptitude and the music achievement of beginning instrumental students who are taught according to the principles of Gordon's music learning theory /." Digitized version, 1989. http://hdl.handle.net/1802/7560.
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Thesis (M.A.)--University of Rochester, 1989.Includes bibliographical references (leaves 33-35). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7560
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Nicolette-Fantin, Emily. "Students' Perceptions of Music Learning and Imagery: Exploring and Documenting Connections." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu158869718904019.
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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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Vial, Andrew John. "Adult Amateur Musicians' Perceptions of the Relationship Between Secondary Instrumental Music Education and Current Music Participation." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428414176.
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Murray, Eric A. "Tradition and Innovation in the Pedagogy of Brazilian Instrumental Choro." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1365782281.
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Bazan, Dale Edward. "TEACHING AND LEARNING STRATEGIES USED BY STUDENT-DIRECTED TEACHERS OF MIDDLE SCHOOL BAND." Case Western Reserve University School of Graduate Studies / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=case1183660727.
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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.
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Bonzi, Francesco. "Lyrics Instrumentalness: An Automatic System for Vocal and Instrumental Recognition in Polyphonic Music with Deep Learning." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Human voice recognition is a crucial task in music information retrieval. In this master thesis we developed an innovative AI system, called Instrumental- ness, to address the instrumental song tagging.
An extended pipeline was proposed to fit the Instrumentalness require- ments, w.r.t. the well known tasks of Singing Voice Detection and Singing Voice Segmentation. A deep research on the available datasets was made and two different approaches were tried. The first one involves strongly labeled datasets and tested different neural architectures, while the second one used an attention mechanism to address a weakly labeled dataset, experimenting on different loss functions.
Transfer learning was used to take advantage of the most recent architec- tures in the music information retrieval field, keeping the model efficient and effective.
This work demonstrates that the quality of data is as important as its quan- tity. Moreover, the architectures to address strongly labeled datasets achieved the best performance, but it is remarkable that the attention mechanism used to address the weakly labeled datasets seems to be effective, even if the dataset was imbalanced and small.
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Selfridge, Stephen Mark. "THE EFFECT OF VIDEO INSTRUCTION ON THE PERFORMANCE ACHIEVEMENT OF FIFTH GRADE INSTRUMENTAL STUDENTS." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/499562.
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Music EducationPh.D.
The purpose of this study was to examine the effect of instructional videos on the performance achievement of fifth grade instrumental students. The design of the study was pretest-posttest control group experimental. Participants (n = 84) were volunteers selected from fifth grade students enrolled in Garnet Valley School District in Glen Mills, PA, who had participated in the band program for at least one full year. Students were assigned a short etude composed by the researcher to practice for an evaluation. Prior to treatment, each student was recorded performing the etude as a pretest. All students received identical instruction and modeling of the etude during their weekly school lesson. In addition to the weekly school lesson instruction, a Video Practice Group (VP) (n = 42) was given access to a video of the teacher instruction and modeling of the etude for use during home practice, and the Non-Video Practice Control Group (NVP) (n = 42) practiced the etude under usual practice conditions. Each week, participants submitted a practice record detailing the amount of time spent practicing the etude. Following three weeks of treatment, all participants recorded a performance of the etude. Pretest and posttest recordings were scored by the researcher using the researcher-designed Etude Scoring Form. One additional certified music teacher scored a random selection of 15% of the student recordings as a reliability judge. Comparison of pretest and posttest scores showed that overall gain scores for participants in the Video Practice group were significantly greater than the Non-Video Practice Group (F(1,82) = 20.68, p < .001, ηp2 = .201), with significant interactions in the categories of rhythm (F(1, 82) = 9.45, p = .003), fluency, F(1, 82) = 9.97, p = .002), and articulation, F(1, 82) = 8.07, p = .006). No significant interactions were found for instrument type or participant school. There was no significant difference in reported practice time between the two groups, and practice time was positively correlated with posttest scores.
Temple University--Theses
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Pardàs, Lluïsa. "Constructivism and Collaborative Learning in Music Teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34619.
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The lessons from Catalonia and Sweden, based in instrumental or vocal music performance, are analysed taking into account the respective teachers’ goals and practices. The implications of the two different methodologies used, top-down big ensemble and collaborative small groups, and their relationship to constructivist pedagogies are discussed.
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Stuber, Stephen. "Teaching behavior viewed as a function of learning style and personality type : a comparison of experienced and less experienced instrumental music teachers /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11320.
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Alfano, Christopher J. 1964. "Seniors' participation in an intergenerational music learning program." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115599.
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Intergenerational programs that bring together young people and older adults have been the subject of investigation in recent years. However, there is little research on the topic of intergenerational education programs, and virtually no research on collaborative, intergenerational music education programs in public school settings. This study sought to capture senior citizens' reflections on their experience as co-participants with adolescents in an Ontario Ministry of Education fully-funded daytime instrumental band program. This program has been running continuously and successfully at a high school since 1994. The site is a rich source of information about the ways in which seniors interact musically, socially and educationally with their own age cohort and with adolescents in this co-learning environment. Qualitative data were gathered using tools of ethnography including participant observation, interview and document analysis, while quantitative data regarding demographic and other information about participants' backgrounds, experience, practice habits and so forth were gathered by means of a questionnaire. An instrumental case study approach was used to investigate the associations of young and old both in social and learning contexts in a broad sense, so that the findings would not be limited to the specific interactive associations that occurred in a music learning and performance environment, but could be applied to other intergenerational associative situations. The study reports on the personal, social and intellectual benefits that senior participants divulged as they reflected on their participation in an intergenerational instrumental music program. The study concluded that an active daytime high school music program that included senior citizens as registered music students, which supported the interaction of young and old as equals in music learning activities, resulted in a greater understanding, acceptance, care, respect and appreciation of one age group for another. Recommendations for social policy regarding support for intergenerational, collaborative, publicly funded educational programs are offered.
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Alfano, Christopher J. "Seniors’ participation in an intergenerational music learning program." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=113375.
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Note:lntergenerational programs that bring together young people and older adults have been the subject of investigation in recent years. However, there is little research on the topic of intergenerational education programs, and virtually no research on collaborative, intergenerational music education programs in public school settings. This study sought to capture senior citizens’ reflections on their experience as co-participants with adolescents in an Ontario Ministry of Education fully-funded daytime instrumental band program. This program has been running continuously and successfully at a high school since 1994. The site is a rich source of information about the ways in which seniors interact musically, socially and educationally with their own age cohort and with adolescents in this co-learning environment. Qualitative data were gathered using tools of ethnography including participant observation, interview and document analysis, while quantitative data regarding demographic and other information about participants’ backgrounds, experience, practice habits and so forth were gathered by means of a questionnaire.[...]
Les programmes intergénérationnels qui réunissent jeunes et aînés ont été l’objet d’études au cours des années récentes. Cependant, il existe peu d’études sur les programmes d’éducation intergénérationnelle et pratiquement pas de recherche sur les programmes en collaboration intergénérationnels d’éducation musicale dans des écoles publiques. La présente étude avait pour objectif d’obtenir les réflexions d’aînés concernant leur expérience de participation, en collaboration avec des adolescents, à un programme de jour d’ensemble instrumental entièrement subventionné par le Ministère de l’Éducation de l’Ontario. Il s’agit d’un programme offert sans interruption dans une école secondaire depuis 1994 et ayant connu beaucoup de succès. Le site constitue une source précieuse de renseignements sur la façon dont les aînés réagissent tant sur le plan musical que social et éducatif avec la cohorte de leur propre âge et avec des adolescents dans un environnement d’apprentissage en commun. Les données qualificatives ont été recueillies au moyen d’outils d’ethnographie y compris l’observation.[...]
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Taaffe, Kay. "Key signature pedagogy : an exploration of instrumental music teaching and learning in Ireland : 'fascinating laboratory' or 'deviant tradition'?" Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/key-signature-pedagogy(7d39466b-a224-42c1-9eb8-8d39d5f77f95).html.
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This study examines pedagogy and assessment in instrumental education in Ireland. It arises from a concern that instrumental teaching and learning have remained situated in a 'black box', operating outside of mainstream education, and have not benefitted from the research and theory which have influenced other areas of education. Using Shulman‘s (2005) framework of 'signature pedagogy', the data enable a rich description of instrumental pedagogy in practice. The study explores how this pedagogy is shaped by assessment processes, and questions if current pedagogical practices meet the needs, aspirations and expectations of students, teachers, parents and examiners. The influence of institutions, such as examination boards and conservatoires, on practice is considered. It is argued that Key Signature Pedagogy is congruent with Bernstein's 'performance' pedagogical model (1996) and is determined by institutions which have historically regulated instrumental education for professional purposes. A pragmatic research methodology is employed using both quantitative and qualitative approaches. Data are obtained by questionnaires completed by parents, semi-structured interviews with teachers and examiners, and a focus group with students. The data suggest that certain unchanged cultural rituals characterise instrumental education in Ireland. Teachers‘ pedagogical practices are influenced by their experiences as students, and the nature of their professional preparation may account for varying levels of agency, adaptability and openness to new ideas in teaching. Parents enrol their children for altruistic reasons, emphasising enjoyment, social interaction, personal and academic development. However, a high stakes examination system impacts on what is taught in lessons and how it is taught, resulting in a culture of performativity. Many factors impact on students' engagement in instrumental lessons, but the prevailing rituals of Key Signature Pedagogy frequently do not sustain students' musical or wider interests. The study concludes with a proposal for a new framework for instrumental teaching, learning and assessment, based on Bernstein's 'competence' model (1996).
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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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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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Karlsson, Kristina. "Trombonen och jag : En självobservationsstudie av tidig instrumental utveckling utifrån ett sociokulturellt perspektiv." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67058.
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Syftet med föreliggande studie är att, genom självobservation, få en ökad förståelse för tidig utveckling på ett brassinstrument samt studera tillägnandet av instrumentspecifika tekniker. Studien behandlar en lärandeprocess i trombon på nybörjarnivå under instrumentallektioner och enskild övning som ägt rum på en svensk musikhögskola. Metoden som använts i föreliggande studie är självobservation genom videodokumentation. Bearbetning och analys av videodokumenterat material har genomförts med utgångspunkt i ett sociokulturellt perspektiv, i vilket lärande förstås genom socialt samspel och användande av medierande redskap. Resultatet presenteras utifrån transkriptionsanteckningar från det observerade videomaterialet med betoning på hur centrala redskap använts under processens inledning, mitt och slutskede. Resultatet visar en påtaglig relation mellan svårigheters uppkomst och tillägnande av nya färdigheter. I diskussionen diskuteras slutligen studiens resultat i förhållande till det sociokulturella perspektivet.The aim of the present study is to, through self-observation, obtain a deeper understanding of early progress on a brass instrument and to study the acquisition of instrument specific techniques. The study processes a learning process in trombone at the beginner level during instrumental lessons and individual exercise, both of which have taken place at a Swedish academy of music. The method used in present study is self-observation through video documentation. Processing and analysis of the video content is based on a sociocultural perspective, in which learning is comprehended by social interaction and the use of mediating tools. The presented result is based on transcription notes from observation of the video content with focus on how tools have been used during the prelude, the middle and the final stage of the process. The result shows a remarkable relation between the appearance of difficulties and the acquisition of new abilities. The result of the study is eventually discussed in relation to the sociocultural perspective on learning.
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Nicolosi, Cheryl Ann. "The effects of music on communication and behavior in children with autism." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3107.
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The research demonstrates that music therapy is an effective tool in the area of communication and behavior with children with autism and children with other learning disabilities. The hypothesis of this thesis predicted that music would enhance communication and decrease inappropriate behaviors. Qualitative data were gathered from interviews with music therapists and observations of students diagnosed with autism and other disabilities including attention deficit disorder, cerebral palsy, Down's syndrome, and other levels of mental retardation. Results supported the hypothesis and also supported the research in the literature that music lowered the anxiety levels in all individuals, resulting in increased learning.
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Kotwal, Shernaz. "The effects of background music on the learning of a motor skill." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35201.
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The purpose of this study was to investigate the effects of easy listening popular music on the learning of a perceptual motor task by elementary school aged children. Specifically, forty nine grade four children were analyzed on learning five variables of a dribbling task either with or without background music.The students' social behaviour for the nonmusic and music groups was also observed and analyzed. Finally, the subjects completed a written questionnaire which helped determine their personal preferences with respect to learning with background music.
A Group (2) by Trial (2) by Dribbling Variables (5) ANOVA with repeated measures on Trial was conducted on the dribbling performance scores. Results showed that there was no significant difference between the nonmusic and the music groups on these dribbling performances for four out of the five dribble variables. However, scores of the music group increased more than those of the nonmusic group for three of the five variables. Subjects in the music group demonstrated a more desirable social behaviour than the subjects in the nonmusic group. In addition, the subjects' responses to the questionnaire showed that an overwhelming number of subjects in both groups preferred to have background music played during activity. Therefore, background music may have an important place in the learning environment in terms of behaviour and attitude, which might ultimately enhance learning.
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Olsson, Jorun. "Musikteori i instrumentalundervisning." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-12227.
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Syftet med studien är att få en fördjupad inblick i hur instrumentallärare behandlar musikteori i sin undervisning för elever i grundskoleålder. Forskning tyder på att elever väljer bort musikteori som ämne på grund av bristande intresse. För att få en bild av i vilken mån instrumentallärare integrerar musikteori i sin undervisning gjorde jag korta strukturerade intervjuer med ett större antal musiklärarstudenter. Jag gjorde också djupintervjuer med fyra instrumentallärare som på ett aktivt sätt integrerar musikteori i sin undervisning. Som teoretisk utgångspunkt i studien har jag använt mig av teorier om lärande. I resultatet visas två olika arbetssätt över hur musikteori kan läras. Det ena sättet sker genom att lära ut musikteorin i mindre delar, motiverade utifrån det eleven spelar. Det andra sättet är att presentera musikteoretiska helheter, ”system”. Resultatet visar också på två olika förhållningssätt till musikteori som ämne. I det första förhållningssättet betonas teorins praktiska funktion. Den ger alla som sysslar med musik ett gemensamt språk att samlas runt. I det andra betonas teorins musikaliskt konstnärliga funktion. Teorin utvecklar en förmåga att se och höra sammanhang och enskildheter i musiken, och detta skapar en förståelse och medvetenhet hos musikerna, vilket i sin tur öppnar för ett självständigare och rikare musicerande.The study aims to gain a deeper insight into how music teachers apply music theory in their teaching of pupils at the compulsory school age. Research suggests that students opt out of music theory as a subject because of a lack of interest. To get an idea of the extent to which instrumental teachers integrate music theory in their teaching, I have interviewed a large number of music student teachers through a structured interview. I also interviewed four instrumental teachers who actively integrate music theory in their teaching, and had access to their methodology and approach to the subject. I have used theories of learning as the theoretical basis of the study. The results are shown by two different approaches in how theory can be taught. One method is by presenting music theory into smaller parts, motivated by what the student plays. The other method is to present the music theoretical entities, a "system". The results also indicate two different approaches to music theory. The first theory emphasizes practical function. It gives everyone involved in music a common language to gather around. The second theory emphasizes musically artistic function. The theory develops an ability to see and hear the context and details of the music, and this creates an understanding and awareness in musicians, which in turn allows for a more autonomous and richer music.
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Hörnberg, Tomas. "Komposition i instrumentalundervisning : En kvalitativ studie om hur fyra musiklärare integrerar och motiverar komposition som en del i sin instrumentalundervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33139.
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Syftet med denna studie är att utifrån Paul Ricoeurs trefaldiga mimesis-begrepp, utforska hur några musiklärare integrerar och motiverar komposition som ett inslag i instrumentalundervisning. För att nå studiens syfte har kvalitativa forskningsintervjuer genomförts med fyra musiklärare som aktivt använder sig av komposition i sin instrumentalundervisning. I resultatet framkommer att informanterna betraktar komposition som en viktig del i skapande av musikalisk identitet och musikaliskt omdöme, de jämför musik med språk och ser komposition och improvisation som nära besläktade. Det framkommer även ett antal konkreta arbetssätt, bland annat beskrivs hur informanterna arbetar med improvisation som ett verktyg för komposition. I studiens sista kapitel diskuteras bland annat synen på skapande, musik som språk och musikalisk identitet och omdöme.The purpose of this study is that based on Paul Ricoeur threefold mimesis-concept, exploring how some music teachers integrate and motivate composition as an element of instrumental tuition. To achieve the purpose of the study qualitative research interviews were conducted with four music teachers who actively use composition in their instrumental tuition. The result shows that the informants consider the composition as an important part in the creation of musical identity and musical judgement, they compare music with language and sees composition and improvisation as closely related. It also reveals a number of specific approaches, including how the informants use improvisation as a tool for composition. The study's final chapter includes a discussion of the view of creativity, music as a language and musical identity and judgement.
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Visi, Federico. "Methods and technologies for the analysis and interactive use of body movements in instrumental music performance." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8805.
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A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and creative use of music-related body movements in instrumental music performance. The complexity of this subject required an interdisciplinary approach, which includes the review of multiple theoretical accounts, quantitative and qualitative analysis of data collected in motion capture laboratories, the development and implementation of technologies for the interpretation and interactive use of motion data, and the creation of short musical pieces that actively employ the movement of the performers as an expressive musical feature. The theoretical framework is informed by embodied and enactive accounts of music cognition as well as by systematic studies of music-related movement and expressive music performance. The assumption that the movements of a musician are part of a shared knowledge is empirically explored through an experiment aimed at analysing the motion capture data of a violinist performing a selection of short musical excerpts. A group of subjects with no prior experience playing the violin is then asked to mime a performance following the audio excerpts recorded by the violinist. Motion data is recorded, analysed, and compared with the expert’s data. This is done both quantitatively through data analysis xii as well as qualitatively by relating the motion data to other high-level features and structures of the musical excerpts. Solutions to issues regarding capturing and storing movement data and its use in real-time scenarios are proposed. For the interactive use of motion-sensing technologies in music performance, various wearable sensors have been employed, along with different approaches for mapping control data to sound synthesis and signal processing parameters. In particular, novel approaches for the extraction of meaningful features from raw sensor data and the use of machine learning techniques for mapping movement to live electronics are described. To complete the framework, an essential element of this research project is the com- position and performance of études that explore the creative use of body movement in instrumental music from a Practice-as-Research perspective. This works as a test bed for the proposed concepts and techniques. Mapping concepts and technologies are challenged in a scenario constrained by the use of musical instruments, and different mapping ap- proaches are implemented and compared. In addition, techniques for notating movement in the score, and the impact of interactive motion sensor systems in instrumental music practice from the performer’s perspective are discussed. Finally, the chapter concluding the part of the thesis dedicated to practical implementations describes a novel method for mapping movement data to sound synthesis. This technique is based on the analysis of multimodal motion data collected from multiple subjects and its design draws from the theoretical, analytical, and practical works described throughout the dissertation. Overall, the parts and the diverse approaches that constitute this thesis work in synergy, contributing to the ongoing discourses on the study of musical gestures and the design of interactive music systems from multiple angles.
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Reece, Adam. "The interaction between music and language in learning and recall in children with autism spectrum condition." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/the-interaction-between-music-and-language-in-learning-and-recall-in-children-with-autism-spectrum-condition(b11141d8-19a3-4d55-b464-a7d9b8464392).html.
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A study was carried out to examine the interaction between music and language in learning and recall in children with autism spectrum condition (ASC). The research comprised initial interviews (N=12), a questionnaire (N=320), and a comparative intervention with children with ASC (N=24), and a comparison group of neurotypical individuals (N=32). Results from the questionnaire showed that, in the view of parents and teachers, there was a high prevalence of singing amongst children with ASC, especially in those with language delay. Furthermore, in the view of parents and teachers, music was more likely to enhance relationships for children with some language delay (as opposed to children who were non-verbal and children with age- appropriate speech). In the practical phase of the study, where children were asked to learn and subsequently recall both spoken and sung material, it was found that singing as opposed to speaking could enhance verbal recall for some children with ASC - particularly those with some language delay. With regard to the effects of language on melodic recall, for children with the lowest levels of musical development, the presence of language had a positive effect, but as the level of children’s musical development increased, the impact of language on melodic recall diminished. With regard to the comparison group, for children at Key Stage 1 (5-7 year olds), music had a positive effect on verbal recall in the long term, but for children at Key Stage 2 (8 -11 year olds), music had a negative effect, although this may have been due to external factors.
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Davison, Patrick Dru. "The Role of Self-Efficacy and Modeling in Improvisation: The Effects of Aural and Aural/Notated Modeling Conditions on Intermediate Instrumental Music Students' Improvisation Achievement." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/davison_patrick_dru/index.htm.
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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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Riddoch, Jane. "The effect of classical music on painting quality, attitude and behaviour for students with severe intellectual disabilities." Connect to thesis, 2006. http://portal.ecu.edu.au/adt-public/adt-ECU2006.0050.html.
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Antoine, Aurélien. "An investigation into the use of artificial intelligence techniques for the analysis and control of instrumental timbre and timbral combinations." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11959.
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Researchers have investigated harnessing computers as a tool to aid in the composition of music for over 70 years. In major part, such research has focused on creating algorithms to work with pitches and rhythm, which has resulted in a selection of sophisticated systems. Although the musical possibilities of these systems are vast, they are not directly considering another important characteristic of sound. Timbre can be defined as all the sound attributes, except pitch, loudness and duration, which allow us to distinguish and recognize that two sounds are dissimilar. This feature plays an essential role in combining instruments as it involves mixing instrumental properties to create unique textures conveying specific sonic qualities. Within this thesis, we explore harnessing techniques for the analysis and control of instrumental timbre and timbral combinations. This thesis begins with investigating the link between musical timbre, auditory perception and psychoacoustics for sounds emerging from instrument mixtures. It resulted in choosing to use verbal descriptors of timbral qualities to represent auditory perception of instrument combination sounds. Therefore, this thesis reports on the developments of methods and tools designed to automatically retrieve and identify perceptual qualities of timbre within audio files, using specific musical acoustic features and artificial intelligence algorithms. Different perceptual experiments have been conducted to evaluate the correlation between selected acoustics cues and humans' perception. Results of these evaluations confirmed the potential and suitability of the presented approaches. Finally, these developments have helped to design a perceptually-orientated generative system harnessing aspects of artificial intelligence to combine sampled instrument notes. The findings of this exploration demonstrate that an artificial intelligence approach can help to harness the perceptual aspect of instrumental timbre and timbral combinations. This investigation suggests that established methods of measuring timbral qualities, based on a diverse selection of sounds, also work for sounds created by combining instrument notes. The development of tools designed to automatically retrieve and identify perceptual qualities of timbre also helped in designing a comparative scale that goes towards standardising metrics for comparing timbral attributes. Finally, this research demonstrates that perceptual characteristics of timbral qualities, using verbal descriptors as a representation, can be implemented in an intelligent computing system designed to combine sampled instrument notes conveying specific perceptual qualities.
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Preston, Terry. "Music, cognitive development, and success in the school environment." Online pdf file accessible through the World Wide Web, 2009. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Preston_TMITthesis2009.pdf.
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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/578535/1/PhD%20thesis%20Helen%20Loth%20for%20ARRO.pdf.
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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted.
There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy.
Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified.
Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.
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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/578535/.
Full textAbstract:
This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.
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Margetts, Lisa. "Psychodynamic music therapy and the work of classroom practitioners working with children with complex needs in Belarus." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/Psychodynamic-Music-Therapy-and-the-Work-of-Classroom-Practitioners-working-with-Children-with-Complex-Needs-in-Belarus(5c9dae14-6771-4bbf-865d-d16cbe2527fb).html.
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Permission has been gained from Children’s Rehabilitation Centre, Minsk and from the relevant authorities in Belarus to use the name of the Centre in this thesis. This research explores the principal meeting points and tensions, for practitioners at Children’s Rehabilitation Centre Minsk, between Winnicott’s theories of the holding environment (1960) and play (1971), and current classroom practice with children with complex needs based on Vygotsky’s theory of defectology. It considers whether and in what ways those practitioners are able to assimilate Winnicott’s theories, and their usefulness in supporting classroom-based work with children with complex needs. Finally, the research explores perceived changes in relationships between staff and children arising from this experience, in accordance with CRC’s self-identified need for support in this area. A mixed-methods design was adopted, employing qualitative and quantitative research methods. Winnicott’s theories provide the framework for the development of a new evaluation instrument. This gives the theoretical structure for a specifically designed staff development programme, integrating teaching, experiential work and practice-based sessions, which was central to the fieldwork at CRC. Eight staff participants evaluated their usual musical interaction with a child with complex needs (pre-intervention). Following engagement with the staff development programme (intervention), participants undertook ten individual music sessions with the same child (post-intervention). Sessions were filmed, and two self-chosen extracts pre- and post-intervention were self-rated against the descriptors of the evaluation instrument. Participants then reflected on the experience with the child in interviews. To provide triangulation, the same 16 video extracts were randomised, and then rated in the same way by 16 UK music therapists in an online study. Thematic analysis of data shows that the experience of Winnicott’s ‘holding’ in the learning process enabled participants to attune to, and empathise with the child. Quantitative analysis shows consequent adaptation to the child. It is concluded that Winnicott’s theories are accessible, relevant and applicable within classroom practice at CRC, to support the establishment and development of positive relationships between staff and children.
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Sidander, Annika, and Raudna Vieira. "Musik i förskolan : "...ja, vi har sångsamling varje dag" En fenomenografisk studie om hur musikpedagogik genomförs i musikinriktade förskolor." Thesis, Södertörns högskola, Lärarutbildningen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-44353.
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A phenomenographic study by interceptions from preschool teachers about their work with music in music-oriented preschools. The purpose of this study is to contribute with knowledge about how preschool teachers understand music as a concept in the Swedish preschool's curriculum as well as how they integrate music in the daily activities with the children. Our intent is also to highlight their different methods, pedagogical approaches and how music can bring learning and development to children. We have an interest of examining these approaches once we have identified researches concerning about music in preschool education being used mostly for instrumental learning orientation rather than aesthetic orientation. The theoretical starting point of this study is Vygotskian sociocultural theory. The method that we used to gather empirical data is semi-structured qualitative interviews. Three preschool teachers from different music-oriented collaborated to this study. We have performed phemenographic data analysis of the interpretations of our respondents and created different categories of our data. The descriptions of these categories are presented summarized in theresult of this study. From our research has it become apparent to us that music in the examined preschools is integrated in many various ways and moments and the way music is integrate in the daily activities in those preschools do not differ significantly. The result shows that music not only being used as learning tool to other subjects but also as a support to aesthetic experience. Music also appears to be a community builder, a promoter of emotional senses and skills development.
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Viljoen, Hermi. "Song learning within group music therapy in combination with Picture Communication Symbols (PCS) for children diagnosed with Autism Spectrum Disorder (ASD)." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/58760.
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An increasing number of research studies have highlighted various links between Autism Spectrum Disorder (ASD) and learning through visual, aural and kinesthetic aids. This study explored the process of song learning using Music Therapy techniques in combination with Picture Communications Symbols (PCS). Music therapy sessions were conducted with two groups of children diagnosed with ASD at Unica School for Autism. For the first 3 sessions Group A’s sessions were conducted making use of music therapy in combination with PCS (referred to as MTPS), whilst Group B only received music therapy techniques (referred to as MT). For session 4 to 6 Group A’s sessions were conducted making use of music therapy techniques (MT) whilst Group B received music therapy techniques in combination with PCS techniques (MTPS). The two groups’ processes were compared with each other in terms of how the participants from both groups learned a new song. A crossover comparative case study method was employed and final themes were identified and linked to relevant literature. This study suggests that both Music Therapy and PCS offered a different learning experience for both groups. When reinforced in combination with each other, a multi-sensory learning experience occurred which offered the participants the tools to be spontaneous, self-expressive and socially and musically flexible thus breaking away from the ritualistic and typical experience of ASD. Both techniques provided the participants with non-verbal and comprehendible cues which promoted and reinforced the recollection of both the songs.Mini Dissertation (MMus)--University of Pretoria, 2017.
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Thomas, Jill. "To what extent do intervention music classes impact on seven and eight year old children presenting with social, emotional and behavioural difficulties? : a study of student learning in a deprived school setting." Thesis, University of Bath, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633170.
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This qualitative case study, set within the sociocultural field of education, examined how intervention music lessons over the duration of one school year may have shaped the development of two seven and eight year old children presenting with social, emotional and behavioural difficulties. The students in the context of this research were selected from mainstream classes due to the emotional and behavioural difficulties they had exhibited. Through analysis of field notes, student iPad diaries and formal and informal interviews, an exploration into the impact of active and collaborative music learning and teaching on the social, emotional and behavioural learning of these students took place. The music learning and teaching was based around Eun’s (2010, p.405) socioculturally informed instructional model, which offers eight interrelated principles for instruction, namely that they should be: mediated; discursive; collaborative; responsive; contextualized; activity-orientated; developmental; and integrated. In examining the social and emotional development of these children during the music lessons, the emergent findings suggested that the intervention classes positively benefitted the children’s development in three main thematic areas, namely in personal competence, task competence and social competence. Although both children responded to the intervention music lessons in strikingly different ways, key findings highlighted substantial increases for both children in their self-esteem, possibly due to their success and achievements in music. The second pertinent finding was that the duration of the intervention programme itself was an important factor, with substantial increases being made in their affective development by the late research phase. Overall, this study highlighted the prominence of achievement in student’s affective development and I suggest that utilizing music as a vehicle for accomplishment for children presenting with SEBD, is a potentially powerful and influential resource.
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Albert, Kimberly Joy. "Using music therapy and visuals to facilitate language in exceptional preschoolers." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3245.
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The purpose of this project is to explore the effectiveness of combining music and visual supports as a means of facilitating communication in exceptional preschoolers. The results indicate that music and visual supports have some merit for increasing verbal responses.
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Chadwick, Felicia School of Education Studies UNSW. "An Australian perspective on talent development in music: The influence of environmental catalysts upon the provision of opportunities for learning, training and practice in the musical domain." Awarded by:University of New South Wales. School of Education Studies, 2000. http://handle.unsw.edu.au/1959.4/17624.
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The study explored the influence of environmental catalysts, upon the provision of field specific opportunities for learning, training, and practice, for a sample population of musically involved young Australians. The findings enhance understandings of the conditions in which children's musical aptitudes are developed. Research bases in the fields of gifted education and music education were employed to support the investigation. Components of Gagn??'s Differentiated Model of Giftedness and Talent (1995a) provided the theoretical framework for this investigation. Two survey questionnaires, completed by Australian parents (N = 194 and N = 182 respectively), sought information pertaining to the subject child's musical involvements and undertakings. Some details of the musical interests and involvements of the child's parents and siblings were also obtained. Quantitative and qualitative data contribute to an extensive profile of the types of music programs and provisions which support the normative and expert development of Australian children's musical behaviours. Parents' musical interests and involvements appear to have strongly influenced the choice of home-based recreational pursuits for their children. The convincingly articulated, positive, field specific views espoused by Australian parents appear to have been translated into the provision of multiple, simultaneous opportunities for their children to engage with musical undertakings. Notable amongst the data are the structured involvements of young musicians with music composition engagements. The data also indicate that many of the sample of Australian children received high levels of support and encouragement for musical undertakings from parents who were themselves musically interested and knowledgeable. Parental involvements with their children's music lesson and practice related engagements, were found to be characterised by features of deliberate practice. The home-based environments of young Australian musicians were found to be characterised by opportunities for exposure to rigorous and challenging musical engagements, undertaken at an optimally early age, thereby enhancing normative musical development. Such engagements provided the necessary foundation for expert levels of musical skill acquisition. An ascending progression of musical skill development was demonstrated to correspond to increasing age further reinforcing the developmental perspective on the acquisition of musical expertise. Some parents indicate that musical engagement has been pursued as a means of appropriately challenging children exhibiting the cognitive and affective characteristics of giftedness.
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Nilhammer, Hanna. "Att vara orkestermusiker och instrumentallärare : En studie om samspelet mellan två yrkesroller." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7279.
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Det här examensarbetet handlar om orkestermusiker tillika instrumentallärare, och hur de ser på samspelet mellan yrkena. Arbetet har två vinklingar; hur musikern påverkas av läraren, och hur läraren påverkas av musikern. Jag har använt mig av kvalitativa intervjuer med sex informanter som alla jobbar både som stråkmusiker och pedagoger. De har olika bakgrund, och olika erfarenhet av undervisning. Som teoretisk bakgrund använder jag ett förhållningssätt där mästarläran, och läraren som coach står i centrum. Mitt resultat är bland annat att musikern blir mer medveten och analytisk till sitt eget och andras spel och att läraren blir en utövande mästare som håller hög spelnivå. Jag diskuterar vilka olika roller mina informanter kan ha, hur deras svar kan relateras till mästarläran kontra coachning samt förmedlad kontra konstruerad kunskap. Det jag kommit fram till är att mina informanter ser jobbkombinationen som värdefull och berikande för båda yrkena, men att tiden ofta inte räcker till.This study focuses on orchestral musicians who also are instrumental teachers, and how they approach the interrelationship between the two professions. The study presents two views: how the teacher influences the musician, and how the musician influences the teacher. I have based the study on qualitative interviews with six interviewees, all of whom work as string players and pedagogues. They all have different backgrounds, with various experiences of teaching. As a theoretical background, I have used an approach where master teaching, or the teacher as a coach, is central. Among my findings, I have discovered that the musician becomes more conscious and analytic toward his/her own style of playing, but also towards others as well. The teachers are masters and they possess a high technical level in their playing. Further, I discuss what roles the interviewees may have, and how I can relate their answers to my theoretical background. The interviewees make clear that working as both a teacher and a musician is valuable, but the issue of time can be a problem.
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Lindberg, Sandra, and Ruthoi Sarah Martionsson. "Kompositörers tal om skapande av barnmusik." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33264.
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Denna studie täcker outforskade mark kring att komponera barnmusik och hur den kan användas i förskolansverksamhet. Syftet med studien är att ur ett musikdidaktiskt perspektiv undersöka och analysera barnmusikkompositörers tal om barnmusik och hur denna skulle kunna användas på förskolor. Vi använder Nielsens (1998) musikdidaktiska teori som en teoretisk grund. Elva kompositörer har intervjuats om skapandet av sin barnmusik, där bland annat deras syn på barnmusik lyfts fram. Resultatet av studien är att barnmusik är en mångfacetterad genre med många tankar och syften. De vetenskapliga, konstnärliga och hantverksaspekterna blir synliga i respondenternas uttalanden. Likaså de olika dimensionerna som musikundervisning kan grundas på.This study covers unexplored land around composing children's music and how it can be used in the context of preschool. The purpose is to look in to and analyze, from a music didactic perspective, composers speak about children's music and how this could be adapted in preschools. We see Nielsen's (1998) didactic theory of music as a theoretical resource. Eleven composers have been interviewed about children's music where, among other things, their views on children's music are highlighted. The result of the study is that children's music is a multi-faceted genre with many thoughts and purposes. The scientific, artistic and craft-aspects become visible in the respondents' statements. Likewise the different dimensions on which music education can be founded.
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Machado, Cecília Marcon Pinheiro. ""No nosso mundo a gente inventa" : um estudo sobre a aprendizagem criativa em uma oficina de música para crianças." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1537.
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The objective of this study was to investigate the dynamics that bring out the ideas of music of children who participated in a music workshop, by analyzing and documenting how these ideas are shared and transformed in the community of practice and learning established in the classroom. The study focused on the children s perspective, with the intent of comprehending how they relate to music and interact social within and outside the Workshop. The theoretical basis of the study was based on research studies of the field of creative learning in the areas of education and music education. These researches studies point out the importance of involving the children in the process of learning viewing them as active agents and coconstructors of knowledge. Within this perspective, the creativity in education focuses on the processes of collective construction of knowledge in which the following aspects are pointed out: imagination, thinking process, inventing process, experimentation, the agency, protagonism and independence of the students in the construction of meanings (CRAFT et al, 2008; AROSTEGUI, 2012). A qualitative case study was conducted in a Music Workshop for children ages 6 to 11, offered to the community as an extension project of Santa Catarina State University. The methodological design tried to document the learning process of the children through an articulated group of data collection: (1) observation and video recording of the classes during the year; (2) initial semi-structured interviews with the children; (3) memory stimulation with edited videos of the observations, from which the children analyzed and reflected about productions in a collaborative manner and (4) notes voluntarily taken by the children in individual diaries, which were produced for the research and called ideas of music notebooks. The data analysis was divided in two categories: the first discussed the children s notes in the notebooks and how they reflected and shared their ideas of music based on conversations about these observations, and the second analyzed the activities performed in the classroom, especially in the activities of musical composition. The results revealed that the ideas of music are shared and transformed in the classroom through processes of negotiation perceived among the children while working collaboratively, including the teachers. The study points out also the importance of listening to the children, valuing their perspective and offering an environment that offers the possibility of developing the agency and configuration of a community of learning and musical practice within the classroom. Under the optic of the referential of creative learning, the importance of knowing the ideas of music of the children is strongly advocated in order for the musical education to intervene in a relevant and significant manner, recognizing and valuing the point of views of the children about their processes of musical learning.
Esta pesquisa teve o objetivo de investigar as dinâmicas que movimentam as ideias de música de crianças participantes de uma oficina de música, analisando e documentando como essas ideias são compartilhadas e transformadas na comunidade de prática e aprendizagem estabelecida em sala de aula. A pesquisa focaliza a perspectiva das crianças, buscando compreender o modo como elas se relacionam com música e interagem socialmente dentro e fora da Oficina. O estudo é fundamentado em pesquisas no campo da aprendizagem criativa nas áreas de educação e educação musical. Essas pesquisas ressaltam a importância de envolver as crianças no processo de aprendizagem, entendendo-as como agentes ativos e coconstrutores de conhecimento. Nessa perspectiva, a criatividade na educação focaliza os processos de construção coletiva de conhecimento, no qual são ressaltados: a imaginação; o pensamento; a inventividade; a experimentação; a agência e o protagonismo e a independência dos estudantes na construção de significados (CRAFT et al, 2008; AROSTEGUI, 2012). Foi realizado um estudo de caso qualitativo em uma Oficina de Música para crianças de 6 a 11 anos, oferecida à comunidade enquanto projeto de extensão da Universidade do Estado de Santa Catarina. O desenho metodológico da pesquisa buscou documentar a aprendizagem das crianças, através de um conjunto articulado de coleta de dados: (1) observação e registro em vídeo de aulas ao longo do ano; (2) entrevistas semiestruturadas iniciais com as crianças; (3) entrevistas de estimulação de recordação com vídeos editado das observações, a partir dos quais as crianças analisaram e refletiram sobre suas produções colaborativamente; e (4) registros produzidos voluntariamente pelas crianças em diários individuais, produzidos para a pesquisa e chamados de cadernos de ideias de música. A análise dos dados foi dividida em duas categorias: a primeira discute os registros das crianças nos cadernos e como elas refletem e compartilham suas ideias de música a partir de conversas sobre esses apontamentos; e a segunda analisa as atividades realizadas na Oficina, visando compreender os movimentos dinâmicos acionados na sala de aula, especialmente nas atividades de composição musical. Os resultados revelam que ideias de música são compartilhadas e transformadas em sala de aula, em processos de negociação percebidos entre as crianças, enquanto trabalhavam colaborativamente, incluindo as professoras. A pesquisa ressalta também a importância de ouvir as crianças, valorizar sua perspectiva e proporcionar ambiente que possibilite o desenvolvimento de sua agência e a configuração de uma comunidade de aprendizado e prática musical na sala de aula. Sob a óptica do referencial da aprendizagem criativa, argumenta-se pela importância de conhecer as ideias de música das crianças para que a educação musical possa intervir de forma relevante e significativa, reconhecendo e valorizando os olhares das crianças sobre seus processos de aprendizagem musical.
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Stefanelli, Ricardo. "Aprendizagem cooperativa na educação musical popular: estudo de caso curricular no Centro Federal de Educação Tecnológica de São Paulo - 2007/2008." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2722.
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Previous issue date: 2009-02-09The objective of this piece of work A Teaching Cooperative Approach in Popular Music Education - CLEMP is to demonstrate aspects of methodological contents of collective learning of music and using rock bands performance in school classrooms. This survey has been based on oral history statements of teachers, staff and students from the Technical School of Sao Paulo, Brazil CEFET, which were used to compile the history of the school and the evolution of their teaching methods as well as the analysis of the growth and improvement of musical skills of 13-16-year-old students attending the first year of Junior High School in 2007. The theoretical reference used to support the ideas contained in this piece of work derived from two schools of psychology: the significant learning of Ausubel, and the social-interactive approach of Vygotsky. The methodological procedure is the qualitative and participative research and selecting three aspects: the explanatory - to provide greater familiarity with the problem; the descriptive - to identify a group of students establishing their personal relationship with their instrument; and finally, the explanatory - to identify the factors that truly contributed to the musical improvement of the team as a whole. This work has made possible important links among the students having a great musical experience and the ones with little experience thus representing their first teamwork interaction which brought them a sense of happiness, friendship and pleasure in learning under a cooperative and natural environment - the appropriate scenario for rock bands musical production and performance.
Este trabalho Aprendizagem Cooperativa na Educação Musical Popular CLEMP tem como objetivo demonstrar conteúdos metodológicos em seus aspectos de interpretação e criação no ato de aprender cooperativamente através da integração de bandas de rock em sala de aula. Esta pesquisa procurou, através de depoimentos de professores, funcionários e alunos, documentar a história do Centro Federal de Educação Tecnológica de São Paulo CEFET-SP e a evolução do ensino de música, bem como analisar o crescimento e o aperfeiçoamento das habilidades dos alunos, de 13 a 16 anos, que, no ano de 2007, freqüentaram o primeiro ano do ensino médio nesta instituição. O referencial teórico utilizado serviu para apoiar os conceitos oriundos da psicologia escolar que derivaram de considerações em duas teorias educacionais: a da aprendizagem significativa de Ausubel e a sócio interacionista de Vygotsky. O procedimento metodológico investigado foi o da pesquisa qualitativa participativa, na qual foram selecionados três aspectos: o exploratório, por proporcionar maior familiaridade com o problema; o descritivo, por caracterizar um grupo dos alunos e também por estabelecer uma relação de cada aluno com seu instrumento; e o explicativo, por identificar fatores que contribuíram para a melhoria do grupo musical de alunos. Este trabalho estabeleceu grandes elos entre os alunos que tinham experiência musical alunos experientes com os que não tinham alunos inexperientes. Essa relação, conquistada por eles, trouxe momentos de alegria, prazer e aprendizagem com a própria cooperação, solidificando novas amizades e tornando o ambiente propício para interação de bandas de rock com suas produções e apresentações musicais.
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Kim, Etté. "Apports d’une pratique de l’improvisation libre dans la formation musicale d’élèves instrumentistes : étude de cas sur une pratique pédagogique de l’improvisation libre." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL116.
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Partant du constat que l'enseignement instrumental dans les conservatoires prenait racine dans le rapport à la lecture, nous nous sommes interrogés sur la portée que pouvait avoir, dans la formation de jeunes musiciens, une pratique instrumentale sans support écrit. Parmi toutes les démarches visant à développer l’invention musicale, notre choix s’est porté sur l'improvisation libre. Notre recherche a pour enjeu d’interroger l’efficacité et les limites de cette pratique telle qu’elle a été formalisée par Alain Savouret. Fondée sur une étude de cas, cette thèse s'appuie sur les données recueillies lors d’une enquête de terrain. Le corpus comporte les enregistrements de 18 séances ainsi qu’un ensemble de questionnaires remplis par 19 élèves et 5 professeurs. A travers une étude systématique de ce matériau, la thèse a pour objectif de détecter la présence de processus d'acquisition de deux catégories de savoir-faire : la capacité à mobiliser en priorité le couplage audio-moteur dans l’action musicale, et la capacité à diversifier l’éventail des objets sonores (P. Schaeffer). L’analyse de la conduite enseignante montre comment les savoir-faire questionnés circulent dans l’espace didactique. Quant à l’analyse des séquences musicales, elle permet d’apprécier la portée des stratégies enseignantes dans les deux domaines qui nous intéressent. En effet, le repérage d’indicateurs révélant une réaction instrumentale à différents types de signaux sonores, et le recensement croisé des modes de jeu et des objets sonores produits nous a amené à évaluer à la fois le processus évolutif et le profil de chaque sujet aussi bien sur le plan audio-moteur que sur celui du répertoire sonoreStarting from the observation that instrumental teaching in conservatories took root in the relationship to reading, we wondered about the effects that could have, in the training of young musicians, an instrumental practice without written support. Among all the initiatives aimed at developing musical invention, our choice fell on free improvisation. Our research aims to question the effectiveness and the limits of this practice as it was formalized by Alain Savouret. Based on a case of study, this thesis is based on data collected during a field survey. The corpus includes the recordings of 18 sessions as well as a set of questionnaires completed by 19 students and 5 teachers. Through a systematic study of this material, the thesis aims to detect the presence of acquisition processes of two categories of know-how: the ability to mobilize in priority the audio-motor coupling in musical action, and the ability to diversify the range of sound objects (P. Schaeffer). The analysis of the teaching behavior shows how the questioned skills circulate in the didactic space. As for the analysis of musical sequences, it allows us to appreciate the effects of teaching strategies in the two fields that interest us. Indeed, the identification of indicators revealing an instrumental reaction to different types of sound signals, and the cross-listing of instrumental playing modes and produced sound objects led us to assess both the evolutionary process and the profile of each student both on the audio-motor side and on that of the sound repertoire
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Hoogland, Anna. "Tangenttradition : En kvalitativ intervjustudie om musiklärarstudenters syn på pianots roll i sångundervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78878.
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Föreliggande studies syfte är att undersöka hur musiklärarstudenter med inriktning sång i de olika genrerna jazz, folkmusik och klassisk musik ser på pianots roll i sångundervisning. Tidigare litteratur och forskning berör pianots användande inom ramen för instrumentalundervisning och hur det kan påverka olika undervisningssituationer. Studien har en kvalitativ forskningsansats och utgår från det sociokulturella perspektivet på lärande. Semistrukturerade, kvalitativa intervjuer har använts som metod för att undersöka de individuella uppfattningar som finns hos musiklärarstudenterna angående pianots roll i sångundervisning. Materialet har sedan analyserats med hjälp av tematisk analys. Resultatet visar att pianot har en kulturell betydelse, vilket gestaltas genom erfarenheter av hur pianot har använts inom olika genrer och allmänna förväntningar på att använda pianot. Dessutom framkommer att musiklärarstudenterna har ambivalenta förhållningssätt till pianots roll, vilket skildras i beskrivningar av vilka möjligheter och svårigheter pianots olika användningsområden kan föra med sig. I diskussionen lyfts frågor angående innebörden av att ta efter sin lärares didaktiska val gällande förhållningssätt till pianot i sångundervisning, men även frågor som berör musiklärarutbildningen som traditionsinriktad respektive nytänkande. Slutligen diskuteras sångundervisning med eller utan piano, med utgångspunkt i pianots möjligheter och svårigheter.The purpose of this study is to examine how music teacher students specialized in the different genres jazz, folk music and classical music view the function of the piano in singing lessons. Previous research refers to the use and influence of the piano regarding instrumental teaching. The study is qualitative and is based on the sociocultural perspective on learning. Semi structured interviews have been used as a method to investigate what individual perceptions the music teacher students have on the functions of the piano in singing lessons. To analyse the material, thematic analysis has been used as a method. The result shows that the piano is culturally associated, which is seen in the different use of the piano within different genres. The piano as an instrument associated with general expectations has also been observed. Furthermore, it appears that the music teacher students have ambivalent approaches to the function of the piano, which is depicted in descriptions of the possibilities and difficulties that can occur in different ways of using the piano. In the discussion, questions about the ability to adopt the teacher’s didactic choices is mentioned. Also, the role of the music teacher program based on tradition and rethinking is discussed. Additionally, the consequences of teaching singing students with or without the piano is discussed, based on the possibilities and difficulties of the use of the piano.
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Redfern, Jane F. "Helping control Attention Deficit Disorder behaviour using musical activities." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79996.
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Thesis (MMus)--Stellenbosch University, 2013.ENGLISH ABSTRACT: As a recent graduate, I feel that young educators are graduating from South African universities and are teaching in schools without adequate knowledge of the various learning disabilities and behavioural disorders that many children suffer from. In the context of the Arts & Culture or music classroom, educators especially suffer as they are taught to encourage creativity. However, how can one differentiate between creative behaviour and disruptive behaviour and be certain that bad behaviour is not a symptom of a behavioural disorder? Upon graduation and starting to teach in the southern suburbs in the Western Cape, the researcher was struck by the number of children diagnosed with behaviour disorders and taking the stimulant medication Ritalin. Yet the notion of medicating a child for a behavioural disorder is not agreeable to many parents and educators to whom the researcher has spoken while researching this topic. The general feeling seems to be that a child should be given space to be creative, but a teacher cannot control a class of at least twenty-five children who are all claiming their own creative rights. This research explores various steps that a music educator can take to control a class of both medicated and non-medicated learners. The effects of music on the behaviour of learners diagnosed with Attention Deficit Disorder (abbreviated to ADD) have been investigated in various ways over the years and these are described in this thesis. Likewise, information on various prescription medications and non prescription medications that are available in South Africa are presented to offer options to an educator/parent faced with a child demonstrating behavioural problems. There is also substantiation that by increasing the intake of essential fatty acids and adjusting a child’s diet, one can positively enhance behaviour and concentration. The researcher discusses the various foods that should be avoided and those should be enjoyed generously. The researcher observed learners who were considered problematic in the general classroom in the form of observation of behaviours before and after each musical activity. Class educators were asked to assist the researcher by further observing the selected children’s behaviour in the following lesson.
AFRIKAANSE OPSOMMING: As ‘n onlangsgegradueerde, voel ek dat jong onderwysers aan Suid-Afrikaanse universiteite afstudeer en onderrig in skole begin gee sonder voldoene kennis van die verskeie leergestremdhede en gedragsafwykings waaraan ‘n groot hoeveelheid kinders ly. In die konteks van die Kuns en Kultuur of musiekklaskamer is dit vir onderwysers besonder moeilik omdat hulle geleer is om kreatiwiteit aan te moedig. Die probleem is hoe om te onderskei tussen kreatief en ontwrigtende gedrag en hoe om seker te wees of slegte gedrag nie ‘n simptoom van ‘n gedragsafwyking is nie. Na graduering en die begin van haar onderrigloopbaan in die suidelike voorstede van die Wes-Kaap is die navorser getref deur die getal kinders wat die stimulant medikasie Ritalin gebruik. Tog sou die meeste ouers en onderwysers waarmee die navorser gepraat het gedurende haar navorsing nie die gebruik van medikasie vir gedragsafwykings verkies nie. Die algemene gevoel is dat die kind die geleentheid gegun behoort te word om kreatiefe te wees, maar ‘n onderwyser kan nie ‘n klas van minstens vyf-en-twintig kinders onder beheer hou wat almal hul kreatiewe regte eis nie. Hierdie navorsing ondersoek verskillende stappe wat ‘n musiekonderwyser kan neem om ‘n klas te beheer met leerlinge wat op en sonder medikasie is. Die effek van musiek op die gedrag van leerlinge wat gediagnoseer is met Aandagafleibaarheidsindroom (afgekort na AAS) is reeds in verskeie vorme oor die jare ondersoek en word in hierdie tesis beskryf. Inligting aangaande verskeie voorskrif en nie-voorskrif medikasie wat in Suid-Afrika beskikbaar is, word verskaf om opsies te gee vir ‘n opvoeder/ouer wat gekonfronteer word met ‘n kind wat gedragsprobleme demonstreer. Daar is ook bewyse dat deur om die inname van essensiële vetsure te verhoog en ‘n kind se dieet aan te pas, gedrag en konsentrasie positief beinvloed kan word. Die navorser bespreek die verskeie kossoorte wat vermy behoort te word teenoor dié wat vryelik geniet kan word. Die navorser het leerlinge waargeneem wie se gedrag as problematies in die algemene klaskamer beskou was, voor en na elke musikale aktiwiteit. Klasonderwysers is gevra om die navorser by te staan deur verdere waarneming van die kinders se gedrag in die volgende les.