Dissertations / Theses: 'Contributions in music education'

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

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Kelleher, Kevin Daniel. "The contributions of Thomas Alva Edison to music education." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11101.

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Thesis (D.M.A.)--Boston University
With the invention of the phonograph in 1877, Thomas Alva Edison (1847-1931) ushered in a new era of musical experiences. Among other things, his device provided new learning opportunities for both amateur and professional musicians, in addition to non-musicians. By 1906, Edison recordings were being made for the Siegel-Myers Correspondence School of Music's distance instruction program, five years before Edison's major competitor, the Victor Talking Machine Company, established its education department under the direction of Frances Elliott Clark (1860-1958). The major difference between the competitors' devices was that the Edison phonograph allowed users to record music and the Victor talking machine did not. Despite this disadvantage, the Victor device was marketed more successfully as an aid to music education. Although Edison's phonograph companies encouraged music education through student performance, self-recording, and correspondence feedback, in 1921 Thomas A. Edison, Inc. hired Charles H. Farnsworth (1859-1947) to, in part, replicate Victor's successful approach to music education: learning to appreciate music through listening to recorded music. While Edison and his phonograph have received considerable attention in some scholarly literature, there has been no significant research on his or his companies' involvement with music education. The purpose of this study was to help fill this gap in the literature. Toward that end, the following research questions were addressed: (1) In what ways did Thomas A. Edison contribute to music education? (2) In what ways did Edison's phonograph companies contribute to music education? (3) How, and to whom, did Edison's phonograph companies market their phonographs and other music education products? and (4) How did Edison's approach to music instruction via the phonograph differ from that of Frances Elliott Clark and the Victor Talking Machine Company? Historical research techniques were used in this study, beginning with an examination of documents at the Thomas Edison National Historical Park in West Orange, New Jersey, the National Association for Music Education (NAfME) Historical Center at the University of Maryland, College Park, and the Music Library at the University of Michigan, Ann Arbor. These archives contain primary source material about Edison, Clark, and the Edison and Victor phonograph companies.

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Spurgeon, Alan Linder. "George Oscar Bowen : his career and contributions to music education /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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4

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

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Harriott, Janette Donovan. "Barbara Andress : her career and contributions to early childhood music education /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.

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Stewart, Shawna Lynn. "Charles C. Hirt at the University of Southern California| Significant contributions and an enduring legacy." Thesis, University of Southern California, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564029.

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Dr. Charles Hirt and the Department of Church and Choral Music at the University of Southern California (USC) produced some of America's most successful choral conductors and administrators. Many of those students are conducting or administrating at the finest colleges and universities, secondary schools, churches, and community choral organizations in the nation. From the earliest moments of his career, Charles Hirt himself received a seemingly endless string of accolades. Always focused on the betterment and future of the choral arts, he was a "founding father" of significant choral organizations such as the American Choral Directors Association (ACDA), Choral Conductors Guild of California, and the International Federation of Choral Music. It was also his visionary mindset that served as a hallmark of his tenure at USC and arguably earned him the right to stand as an equal alongside the greatest of American choral conductors.

It is the aim of this study to examine Hirt's significant contributions to the University of Southern California and his legacy as it continues on in his students and the subsequent generation of choral leaders they generated.

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Patterson, DeAnna Rose. "A History of Three African-American Women Who Made Important Contributions to Music Education Between 1903 and 1960." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182182858.

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Waters, Jonathan Neale. "Jack Oliver Evans: His Life and His Contributions to the Ohio State University School of Music." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1409850331.

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Sturm, Jeannine Anne. "Helen Marla Mutschler (b. 1935): Her Life and Contributions to String Education." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/241933.

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The purpose of this study was to examine the life of Helen Marla Mutschler (b. 1935) and her contributions to string education. The study is divided into a prologue, five chapters, and an epilogue. The chapters are titled as follows: Beginnings (1932¬-1956), Journey to the Doctorate (1956-1973), Collegiate Teaching (1972-1983), Collegiate Teaching (1983-1999), and Retirement (1999-2012).Mutschler, violinist and string pedagogue, dedicated her career to teaching tension-free playing--the method of Paul Rolland. Mutschler served as a research assistant and later research associate to Rolland during the University of Illinois String Research Project (1966-67). Although her career was not highly publicized, she remained in the spotlight for many years appearing in Rolland workshops in Australia, Europe, and North America. In 2009, the American String Teachers Association presented Mutschler with the Paul Rolland Lifetime Achievement Award recognizing her contributions to the field. Mutschler's contributions to string education include teacher, performer, advocate, and presenter.

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Thomas, Susanne L. "Kenneth I. Bray, his contribution to music education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ32518.pdf.

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Prest, Anita L. "The growth and contributions of bridging social capital to rural vitality via school-community music education partnerships." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51362.

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Many rural communities in British Columbia, Canada, currently face social problems associated with boom and bust resource development, economic decline due to increased urbanization, and intercultural barriers between ethnic groups. In such settings, school music programs are often limited in scope or non-existent. Yet, in at least one rural community that undertook a school-community music education partnership, that partnership positively influenced community identity, agency, and vitality and brought greater recognition and support to its school music program. My purposes in this study were to investigate how three such partnerships have contributed to the social, cultural, and economic sustainability of their communities and to learn how they may have served to shift community members’ conceptions of the value of music and music education. For this multiple case study of Powell River, Nelson, and Qualicum Beach, British Columbia, I examined school and municipal historical records and conducted interviews with individual community members and school staff to determine the circumstances that made possible their partnerships. I spoke with focus groups comprising partnership committee members to learn how the dynamic and structural properties of the partnership networks have impacted the ways in which social capital functions in them. Finally, I conducted 6-8 semistructured interviews at each site with key community members to elicit their conceptions of changes over time regarding 1) identity, agency, and vitality, and 2) attitudes toward and scope of musical engagement inside and outside of their schools. I found that partnerships that promoted local attributes, high levels of community engagement, and a physical commons fostered social capital and provided more opportunities for community members to address local social justice issues (e.g., equitable access to music education, cultural inclusion), drawing upon shared values as bases for resolving those issues. I also found that reciprocity gives rise to social capital only when, in addition to a simple exchange, it entails a sincere recognition of efforts (e.g., moving beyond traditional rational actor or habitual conceptions). The bridging social capital emerging from these partnerships contributed significantly to vitality in these three communities, also favourably shifting community conceptions of the value of music education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Petersen, Jr Gerald Anthony. "Factors Contributing to Arizona Elementary General Music Teachers' Attitudes and Practices Regarding Multicultural Music Education." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1109%5F1%5Fm.pdf&type=application/pdf.

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Poritsky, Marc I. "Cleveland and Northeast Ohio's Overlooked Historical Contributions to Underground, Punk, and Alternative Music." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1401293444.

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Carpente, John Albert. "Contributions of Nordoff-Robbins Music Therapy Within a Developmental, Individual-Differences, Relationship-Based (DIR®)/Floortime™ Framework to the Treatment of Children With Autism: Four Cases." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/42498.

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Music Therapy
Ph.D.
This study was concerned with the effectiveness of Nordoff-Robbins Music Therapy (NRMT) carried out within a Developmental, Individual-Difference, Relationship-based (DIR®)/Floortime Framework in addressing the individual needs of children with autism. In NRMT, the child is an active participant in the music making process, playing various instruments that require no formal training. The therapist's task is to improvise music built around the child's musical responses, reactions, responses, and/or movements to engage him or her in a musical experience that will facilitate musical relatedness, communication, socialization, and awareness. The DIR® model provides a comprehensive framework for assessing, understanding, and treating the child. It centers on helping the child master the building blocks of relating, communicating, and thinking through the formulation of relationships via interactive play, using Floortime (a systematic way of working with the children to help them reach their developmental potential). This study sought to determine the effectiveness of NRMT in meeting musical goals specifically established for each individual child, and to conclude if progress in musical goals paralleled progress in non-musical (DIR®) goals.
Temple University--Theses

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Salinas, Ashley. "Original Viola Study Literature: Analyzing the Pedagogical Contributions of Marco Frank." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157561/.

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Viola pedagogy has historically been closely intertwined with and highly dependent upon violin repertoire. As the viola emerged as an instrument worthy of independent study, many still rely on transcriptions of violin etudes. Fortunately, the efforts of performers, teachers, and scholars have brought forth discoveries of original viola literature and thus shifted toward the perception that viola should begin to embrace its individual pedagogy. Viennese composer and violist Marco Frank contributed three volumes of Viola-Etuden and a method book, Praktische Viola-Schule, which are suitable for the intermediate violist. This document explores and analyzes the usefulness of an original viola series in comparison to the ‘tried and true' violin transcriptions.

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Shoop, Stephen Scott. "The Texas Bandmasters Association a historical study of activities, contributions, and leadership (1920-1997) /." Thesis, view full-text document, 2000. http://www.library.unt.edu/theses/open/20012/shoop%5Fstephen/index.htm.

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Matier, Rosemary. "Georg Gruber : his contribution to music education in South Africa and an evaluation of selected vocal compositions and arrangements." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002312.

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In this thesis I have given a factual account of Georg Gruber's contribution to music education in South Africa by giving a short biography and studying a) his philosophy of music education, b) the content of the music courses offered at Rhodes University during his occupancy of the Chair (1955-1972), c) the content of the music courses offered at the University of Fort Hare from 1974-1977, d) his contribution to choral education, e) his publications in the field of music education. I have given an evaluation of selected vocal compositions: a) Two masses, b) Terra Nova , c) Two African cantatas, i) Ukucula Ematola and ii) Izango ZakwaNtu , and seven arrangements of real folksongs from several different countries: a) Coventry Carol and Sweet Nightingale, b) Die Alibama, c) Merck tog hoe sterck, d) Entre Ie Boeuf et l'Ane gris, e) Aba Heidschi-bum-beidschi and f) Cheder Katan. Through the above study I have drawn conclusions regarding his compositional techniques prior to coming to South Africa as shown in the two mass compositions a nd the changes which occurred after being exposed to African music. The attention to detail in his arrangements and their sheer simplicity show his skill and craftsmanship also in this genre. Appendices of the works discussed have been submitted in a separate file and Appendix 8 lists all his available folksong arrangements.

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Bonner, Dennis M., and Dennis M. Bonner. "Irving Gifford Fine: His Choral Music and His Contributions to American Music." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/626241.

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Gao, Boyang. "Contributions to music semantic analysis and its acceleration techniques." Thesis, Ecully, Ecole centrale de Lyon, 2014. http://www.theses.fr/2014ECDL0044/document.

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La production et la diffusion de musique numérisée ont explosé ces dernières années. Une telle quantité de données à traiter nécessite des méthodes efficaces et rapides pour l’analyse et la recherche automatique de musique. Cette thèse s’attache donc à proposer des contributions pour l’analyse sémantique de la musique, et en particulier pour la reconnaissance du genre musical et de l’émotion induite (ressentie par l’auditoire), à l’aide de descripteurs de bas-niveau sémantique mais également de niveau intermédiaire. En effet, le genre musical et l’émotion comptent parmi les concepts sémantiques les plus naturels perçus par les auditoires. Afin d’accéder aux propriétés sémantiques à partir des descripteurs bas-niveau, des modélisations basées sur des algorithmes de types K-means et GMM utilisant des BoW et Gaussian super vectors ont été envisagées pour générer des dictionnaires. Compte-tenu de la très importante quantité de données à traiter, l’efficacité temporelle ainsi que la précision de la reconnaissance sont des points critiques pour la modélisation des descripteurs de bas-niveau. Ainsi, notre première contribution concerne l’accélération des méthodes K-means, GMM et UMB-MAP, non seulement sur des machines indépendantes, mais également sur des clusters de machines. Afin d’atteindre une vitesse d’exécution la plus importante possible sur une machine unique, nous avons montré que les procédures d’apprentissage des dictionnaires peuvent être réécrites sous forme matricielle pouvant être accélérée efficacement grâce à des infrastructures de calcul parallèle hautement performantes telle que les multi-core CPU ou GPU. En particulier, en s’appuyant sur GPU et un paramétrage adapté, nous avons obtenu une accélération de facteur deux par rapport à une implémentation single thread. Concernant le problème lié au fait que les données ne peuvent pas être stockées dans la mémoire d’une seul ordinateur, nous avons montré que les procédures d’apprentissage des K-means et GMM pouvaient être divisées par un schéma Map-Reduce pouvant être exécuté sur des clusters Hadoop et Spark. En utilisant notre format matriciel sur ce type de clusters, une accélération de 5 à 10 fois a pu être obtenue par rapport aux librairies d’accélération de l’état de l’art. En complément des descripteurs audio bas-niveau, des descripteurs de niveau sémantique intermédiaire tels que l’harmonie de la musique sont également très importants puisqu’ils intègrent des informations d’un niveau d’abstraction supérieur à celles obtenues à partir de la simple forme d’onde. Ainsi, notre seconde contribution consiste en la modélisation de l’information liée aux notes détectées au sein du signal musical, en utilisant des connaissances sur les propriétés de la musique. Cette contribution s’appuie sur deux niveaux de connaissance musicale : le son des notes des instruments ainsi que les statistiques de co-occurrence et de transitions entre notes. Pour le premier niveau, un dictionnaire musical constitué de notes d’instruments a été élaboré à partir du synthétiseur Midi de Logic Pro 9. Basé sur ce dictionnaire, nous avons proposé un algorithme « Positive Constraint Matching Pursuit » (PCMP) pour réaliser la décomposition de la musique. Pour le second niveau, nous avons proposé une décomposition parcimonieuse intégrant les informations de statistiques d’occurrence des notes ainsi que les probabilités de co-occurrence pour guider la sélection des atomes du dictionnaire musical et pour construire un graphe à candidats multiples pour proposer des choix alternatifs lors des sélections successives. Pour la recherche du chemin global optimal de succession des notes, les probabilités de transitions entre notes ont également été incorporées. […]
Digitalized music production exploded in the past decade. Huge amount of data drives the development of effective and efficient methods for automatic music analysis and retrieval. This thesis focuses on performing semantic analysis of music, in particular mood and genre classification, with low level and mid level features since the mood and genre are among the most natural semantic concepts expressed by music perceivable by audiences. In order to delve semantics from low level features, feature modeling techniques like K-means and GMM based BoW and Gaussian super vector have to be applied. In this big data era, the time and accuracy efficiency becomes a main issue in the low level feature modeling. Our first contribution thus focuses on accelerating k-means, GMM and UBM-MAP frameworks, involving the acceleration on single machine and on cluster of workstations. To achieve the maximum speed on single machine, we show that dictionary learning procedures can elegantly be rewritten in matrix format that can be accelerated efficiently by high performance parallel computational infrastructures like multi-core CPU, GPU. In particular with GPU support and careful tuning, we have achieved two magnitudes speed up compared with single thread implementation. Regarding data set which cannot fit into the memory of individual computer, we show that the k-means and GMM training procedures can be divided into map-reduce pattern which can be executed on Hadoop and Spark cluster. Our matrix format version executes 5 to 10 times faster on Hadoop and Spark clusters than the state-of-the-art libraries. Beside signal level features, mid-level features like harmony of music, the most natural semantic given by the composer, are also important since it contains higher level of abstraction of meaning beyond physical oscillation. Our second contribution thus focuses on recovering note information from music signal with musical knowledge. This contribution relies on two levels of musical knowledge: instrument note sound and note co-occurrence/transition statistics. In the instrument note sound level, a note dictionary is firstly built i from Logic Pro 9. With the musical dictionary in hand, we propose a positive constraint matching pursuit (PCMP) algorithm to perform the decomposition. In the inter-note level, we propose a two stage sparse decomposition approach integrated with note statistical information. In frame level decomposition stage, note co-occurrence probabilities are embedded to guide atom selection and to build sparse multiple candidate graph providing backup choices for later selections. In the global optimal path searching stage, note transition probabilities are incorporated. Experiments on multiple data sets show that our proposed approaches outperform the state-of-the-art in terms of accuracy and recall for note recovery and music mood/genre classification

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Lima, MarlÃcia Chagas de. "The music teaching ways in Fortaleza: Contributions of PIBID." Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=16090.

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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
This study aims to analyze, from the perspective of graduate students in Music and Pedagogy, the interaction established between music and pedagogy through the Institutional Program of Scholarship Initiation to Docencia (PIBID) during the period from 2010 to 2012. The subjects are graduate students in Music and Pedagogy from the Federal University of CearÃ who worked as fellows by the PIBID, a federal program to encourage teacher training and aimed at the improvement of teacher education for Basic Education and the improvement of quality of Brazilian public education. Through this study about de work developed by the PIBID fellows in three schools of the Public Education System of Fortaleza, we realized that the musical practices are presented as a potentially favorable factor for social change groups and individuals. In this study we discussed what permeates the implementation of music education content in school life, through the joint action of Music and pedagogy fellows and we reflect about the shared learning (MATOS, 2014) that occurred at school between those participating students in the Program. Our methodological approach is qualitative and is configured as a case study (CRESSWELL, 2010) and our theoretical approach is grounded in Vygotsky (2007), Koellreutter (1997), Freire (2013), Moraes (1993, 2007) and Morin (2000).
O presente trabalho pretende analisar, na perspectiva dos licenciandos de MÃsica e Pedagogia, a interaÃÃo estabelecida entre MÃsica e Pedagogia por meio do Programa Institucional de Bolsa de IniciaÃÃo Ã DocÃncia (PIBID), durante o perÃodo de 2010 Ã 2012. Os sujeitos participantes sÃo estudantes aos cursos de Licenciatura em MÃsica e Pedagogia da Universidade Federal do CearÃ (UFC) que atuaram, como bolsistas, junto ao PIBID, um Programa Federal de incentivo Ã formaÃÃo docente e cujo objetivo Ã o aperfeiÃoamento da formaÃÃo de professores para a EducaÃÃo BÃsica e a melhoria de qualidade da educaÃÃo pÃblica brasileira. Estudando o trabalho desenvolvido pelos bolsistas do PIBID em trÃs escolas do Sistema PÃblico Municipal de Ensino de Fortaleza, percebemos que prÃticas musicais se apresentam como um fator potencialmente favorÃvel para a transformaÃÃo social dos grupos e de indivÃduos. Neste trabalho discutimos que permeiam a implementaÃÃo dos conteÃdos de EducaÃÃo Musical no cotidiano escolar, atravÃs da aÃÃo conjunta de bolsistas de MÃsica e Pedagogia e refletimos sobre as aprendizagens compartilhadas (MATOS, 2014), ocorridas no ambiente escolar entre os referidos estudantes participantes do Programa. Nossa abordagem metodolÃgica Ã de carÃter qualitativo e configura-se como um estudo de caso (CRESWELL, 2010) e nosso aporte teÃrico alicerÃa-se em (VIGOTSKY, 2007), (KOELLREUTTER, 1997), (FREIRE, 2013), (MORAES, 1993, 2007) e (MORIN, 2000).

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Alvim, Diogo. "Music through architecture : contributions to an expanded practice in composition." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703888.

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This research is an inquiry into how architecture can inform the practice of composition. As an architect and composer, I try to find strategies for musical composition In architectural practice and thought, by reframing and confronting concepts from both disciplines. My research aims at an expanded practice (and analysis) of musical creation that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are; Material, Site. Drawing, Programme and Use. With the notion of Material. I explore how the acoustic behaviour of a performance space, or of a performatlve device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place. the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contlngenclt;ls. Drawing Is a tool for developing ideas, but also the main mediator between architect and builder. or composer and performer. Programme exposes the constraints and conditions of the creation process, while also revealing the sociopolitical relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a pJurality of agents that converge in a useful event. Thus composition. as architecture, moves from being about conditioning design to designing conditions where musical events may happen.

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Smith, Mary Margaret. "The Swing Era Clarinetists and Their Contributions to Twentieth-Century Clarinet Repertoire." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291011109.

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Beaudreau, Pierre. "Recent contributions to the phenomenology of musical time : a critical survey." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100198.

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The application of phenomenological methods to the analysis of musical time is a recent development in the field of music theory. Phenomenological analyses of music take as their point of departure music as a "heard" phenomenon. This thesis provides a critical survey of the differing ways music theorists have applied phenomenology to the investigation of musical time. After presenting a general overview of the philosophical discipline of phenomenology itself, the thesis considers the work of three theorists, Judy Lochhead, Thomas Clifton, and David Lewin, who adopt a phenomenological approach to issues of time in music. The final chapter considers some approaches to issues of musical time by two theorists, Christopher F. Hasty and Jonathan D. Kramer, who are not explicitly phenomenologists, but whose works are implicitly phenomenological in orientation.
Un dévelopment récent dans le domaine de la théorie musicale est l’application des méthodologies phénomenologiques de l’analyse du temps musical. Une analyse phénomenologique de la musique prend, comme point de départ, la musique comme phénomene “auditif.” Cette thèse fournit une étude critique des diverses façons par lesquelles les théoriciens de lp musique ont appliqué la phénomenologie à l’analyse du temps musicale. Je commence mon étude par une présentation générale de la discipline philosophique de la phénomenologie.et ensuite je considère le travail de trois théoriciens, Judy Lochhead, Thomas Clifton, et David Lewin, qui ont adopté une démarche phénomenologique aux questions du temps dans la musique. Dans le dernier chapitre, je considère certaines études du temps musicale faites par deux autres théoriciens, Christopher F. Hasty et Jonathan D. Kramer. Malgré le fait que ces derniers ne sont pas d’abords des phénomenologistes, certains aspects de leur travail peuvent néanmoins être considérés comme implicitement phénomenologique en caractère.

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Conti, Agustin A. "Argentine music styles contributions to contemporary jazz language : analysis of six original compositions." FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/2428.

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The purpose of this thesis is to present and analyze six original compositions and arrangements by Agustin A. Conti that demonstrate the influence of Argentinean music on Jazz composition. Conti’s compositions combine elements of the Chacarera, Candombe, Murga, Milonga, and Malambo styles, with the odd-meter ostinato and metric modulation used in modem Latin jazz. The thesis includes scores of the six works, as well as a CD of the thesis recital, performed by a jazz quartet consisting of tenor saxophone (or soprano), piano, electric bass and drum set.

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

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

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

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Robinson, Paul. "Contributions to multidisciplinary engineering education and training." Thesis, University of Hull, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418986.

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

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Houser, Kimberly Ann. "Five virtuoso harpists as composers: Their contributions to the technique and literature of the harp." Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/280708.

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The composition of new music for the harp has largely been pursued by performing harpists who have taken up the art of composition to fill a need for new music written with the needs and possibilities of the instrument in mind. In the process of doing this the figures discussed in this paper not only left the harp repertory greatly enriched but they have also created separate technical schools of harp playing based on their teachings and their music. They also influenced other composers of their time to write for the harp and generated an interest in the harp as a performance instrument. The five harpist/composers discussed in this document are Elias Parish Alvars, Henriette Renie, Marcel Tournier, Marcel Grandjany, and Carlos Salzedo. The different technical schools generated by the five persons discussed has lead to a focus on how their ways of approaching the instrument differ. This document attempts to show how they are all interconnected, with each building on ideas put forth by others. In looking at the technical schools and repertory in this way in can be seen that there are a great amount of ideas for the modern harpist to draw on as a performer, regardless of the individual's initial training. The composer may also find this subject useful as there is a great deal of discussion of how the harp works as an instrument and how best to use it compositionally.

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Young, Sharon M. "Music teachers' attitudes, classroom environments, and music activities in multicultural music education /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.

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

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Jain, Judith. "Louise Goss: The Professional Contributions of an Eminent American Piano Pedagogue." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342716172.

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Goins, Mervyn L. "Harold W. Reed : contributions to Christian higher education /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1991.

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

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Stock, Carolyn D. "Perspectives in music education and arts education : the role of National standards for arts education in music education policy reform /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p1413024.

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Thesis (M.A.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 74-75). Also available for download via the World Wide Web; free to University of Oregon users.

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

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Keepe, Michael Leonard. "The Hollywood Saxophone Quartet: Its History and Contributions to Saxophone Quartet Performance in the United States." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/217063.

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This study documents the history of the Hollywood Saxophone Quartet and its role in establishing the saxophone quartet as a serious medium for chamber music in the United States. An abbreviated history of saxophone quartets in the United States is provided, including a brief history of the Marcel Mule Saxophone Quartet in France. This ensemble in particular significantly influenced the Hollywood Saxophone Quartet's formation, programming and mission. The history of the Hollywood Saxophone Quartet follows, including its performing, commissioning, and recording activities, as well as biographical information for its members. This introduction is complemented by a discussion of the legacy of the group through its influence on subsequent saxophone ensembles on a national and international scale. Finally, conclusions drawn from this research place the Hollywood Saxophone Quartet in a historical context in the United States.

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Barrett, James Edward. "Music technology in school education." Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.

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What is music, and how should it be taught in schools? This thesis traces how education and literation have reified music and distanced the construction of music in western conceptions, and British education, from practice in other, historical and geographical, cultures. Musical practice is dependant on the technologies for music production, which also influence the cultural construction of music. New developments in music technology, through the application of electronics and digitisation, have substantially changed the music industry, and, beyond this, have altered the generally accepted construction of music, by opening up new possibilities of sound creation and manipulation. These changes are theorised here as a transgressional step in the progressive literation of music, that reconnects musical practice to wider possibilities in the organisation of sound, some of which are examined by reference to the example of the traditional music of sub-Saharan Africa. By requiring more music practice, and inclusion of music from other times and cultures, the (British) National Curriculum has made new demands of music education in schools. It is shown that as these coincide with concomitant changes in the production of music due to new technologies, there is a possibility of restructuring music teaching in schools to take account of twenty-first century industry practice of music production. This will provide a sound basis for future employment to pupils. While there are many examples of excellence in school music teaching, quality remains variable and change is uneven. This thesis demonstrates the possibility within school music, of increasing the emphasis on a wider range ix of possibilities of organised sound, by connecting music to science, especially acoustical science, in Key Stages 1-3. At higher levels, considering music and sound together with images in multimedia will provide wider opportunities for the development of career skills. An electronic xylophone serves as an example of an instrument developed to enable the exploration of sound in the manner proposed, while retaining the kinaethesia found in physical musical instruments.

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

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

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Alcorn, Kerry. "BORDER CROSSINGS: US CONTRIBUTIONS TO SASKATCHEWAN EDUCATION, 1905-1937." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/934.

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Thesis (Ph. D.)--University of Kentucky, 2008.
Title from document title page (viewed on November 25, 2008). Document formatted into pages; contains: x, 227 p. : ill. Includes abstract and vita. Includes bibliographical references (p. 212-225).

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

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

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

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

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

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

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

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

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

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

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Szabó, Zsolt. "Dr. Gusztáv Höna : his performance and pedagogical career and contributions to the development of the Hungarian trombone school." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3201.

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

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

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Kush, Jason Matthew. "François Louis: The Invention of the Aulochrome and Contributions to the Development of the Saxophone." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/216.

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The purpose of this study is to present the biographical data and major accomplishments of craftsman François Louis (b. 1954, Belgium) and offer insight into Louis' creative process as evidenced by his technical theories and musical experiences, in hopes of providing exposure to academics, professionals, and laypersons alike. François Louis is a significant figure in the emerging history of woodwind musical instruments. Despite his late entry into a musical career, Louis quickly caught the attention of world-renown saxophonists with his immaculate and individualistic handmade saxophone mouthpieces. After nearly a decade of mouthpiece production, instrument repair, and saxophone performance, Louis developed a unique ligature and reed to compliment his mouthpieces' features. Louis' invention of the Aulochrome, a polyphonic chromatic double-bodied woodwind instrument, is an instrument of the new millennium. More recently, Louis further improved his ligature and designed a composite material for his hand-finished production mouthpiece, the Spectruoso. Extensive oral history was gathered in interviews with Louis and saxophonists Lovano, Ries, Cisi, and Théberge. Interview details are organized to highlight Louis' biography, inventions, and influence on other artists. Further, the unique capabilities of the Aulochrome are presented through an exploration of Lovano's approach for learning the Aulochrome, as well as a fingering diagram developed by the author.

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

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

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Gassler, Christopher J. "The Contributions of Thomas G. Everett to Bass Trombone Repertoire, Literature, and Research." Thesis, view full-text document, 2002. http://www.library.unt.edu/theses/open/20022/gassler%5Fchristopher%5Fj/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.
Accompanied by 4 recitals, recorded Apr. 8, 1996, Jan. 27, 1997, Nov. 30, 1998, and June 24, 2002. Includes bibliography of trombone music (p. 44-53); other bibliographical references (p. 54-67).

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Gaydos, Thomas Joseph Odo. "Popular Music in the Paterson, New Jersey General Music Classroom." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827718.

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This project seeks to discover ways to effectively use popular music in the general music classroom in order to have lessons be more culturally relevant, give students a better understanding of musical concepts, and increase engagement. The research methods for this thesis included review of various articles, a survey (see appendix C), and personal experience as a general music teacher. My research suggested ways for music teachers to use popular music in the general music classroom in order to keep lessons culturally relevant, give students a better understanding of musical concepts, and increase engagement. A one unit curriculum centered on popular music in the general music classroom was created using the Understanding by Design curriculum template (see appendix D). This research is important to the field of music education because effective use of popular music can help music educators in their goal of having their students understand musical concepts and be engaged throughout lessons.

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Dissertations / Theses on the topic 'Contributions in music education'

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