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1
Hill, Laura Kerr Hill. "University Music Unit-Sponsored, Non-Music Major Orchestras in the United States." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149936290595039.
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Adams, Leslie Elizabeth. "Music despite everything." Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04042008-131845.
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Polydorou, Nikoletta. "Exploring approaches to teaching music history at university." Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/exploring-approaches-to-teaching-music-history-at-university(0a7d95fa-5623-421d-a890-b2fd16bce397).html.
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Music history is a core requirement for most undergraduate music degrees. The purpose of this study is to investigate the status of music history teaching in music degrees in Higher Education (HE) in four different countries (Cyprus, the Czech Republic, Greece and England). It also aims to evaluate a new music history teaching model that was developed for a university in Cyprus. The new model consists of approaches focused on a student-centred learning method that introduces the use of primary sources and cooperative learning. Three studies were conducted: a qualitative study (Study 1), a mixed methods study (Study 2) and a qualitative evaluation study (Study 3). In Study 1, music history teachers (N=6) were recruited from universities in Cyprus. Study 1 employed Interpretative Phenomenological Analysis (IPA) using the data from semi-structured interviews. In Study 2, music history teachers (N=11) were recruited from the Czech Republic, Greece and England to participate in a qualitative study, and their thinking was compared to a further sample of undergraduate music students (N=86) who were recruited from the Czech Republic, Greece and England. Study 3 designed and tested an intervention in Cyprus evaluating a new approach to teaching music history. The study was evaluated through a pre-test and a post-test questionnaire. Engeström’s culturalhistorical activity theory was used to analyse the findings of all three studies. Results revealed that the most frequent teaching approaches used in music history courses are lectures, the use of audio and audiovisual materials and discussion. While teachers from the Czech Republic, Greece and Cyprus use a teacher-centred learning approach, most teachers from England apply student-centred learning approaches to music history courses. Students from the participating countries generally perceive music history as having relatively little value and they are not satisfied with the existing teaching approaches. A number of them further question traditional approaches to teaching music history. Upon completion of the qualitative evaluation study in Cyprus, students gained a more positive opinion of music history and approved of the new teaching approaches that were used.
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Perold, Maretha. "Music2 - extension and conversion of the Department of Music of the University of Pretoria." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/30201.
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The upgrading of facilities for the Music Department of the University of Pretoria has long been overdue. The Department is constantly growing in terms of enrolment numbers and academic expertise, however, the facilities for the Department are limited and obsolete. This dissertation will thus explore the possibilities of extending and converting the existing Music Department's facilities in an effort to provide sufficient venues for performances and tuition, as well as portray the Department's contemporary image and dynamics through its new facilities on Campus in an effort to revitalise the music precinct and provide more exposeure to a public audience for the Department. Copyright<br>Dissertation (MArch(Prof))--University of Pretoria, 2010.<br>Architecture<br>unrestricted
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LeFils, Gregory William Jr. "History of the Stetson University Concert Choir." Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638022.
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<p> The Concert Choir has been the flagship choral ensemble of Stetson University, a private, liberal arts university in DeLand, Florida, since 1935. The choir has traveled extensively throughout the southeast United States and twice abroad, serving as ambassadors for Stetson University. This study documents Stetson University's early history, the first few decades of choral activity at Stetson University, and the complete history of the Concert Choir through the tenure of Milburn Price. The study explores 1) the individuals, events, and institutions leading to the formation of the Concert Choir, 2) the philosophy and purpose of the Concert Choir, 3) the individuals, events and institutions that have shaped that philosophy and purpose, and 4) the ways in which the Spring Concert repertoire of the Concert Choir reflects the ensemble's philosophy and purpose. </p><p> The three major conductors of the Concert Choir, occupying 71 of the last 77 years, were Harold Giffin (1935-1972), Robert Rich (1972-1989), and Duncan Couch (1989-2006). Giffin was responsible for combining the separate glee clubs into one performing ensemble, performing Handel's <i> Messiah</i> annually for twenty-five years, and instituting an extensive touring schedule throughout the United States. The performances at the National Federation of Music Clubs (1939), New York City's Lincoln Center (1967), and the recording session that was broadcast coast-to-coast with NBC in Chicago (1953) were three of Giffin's tours that were most significant. Rich was the first alumnus of the Concert Choir to be hired as Director of Choral Activities and conducted the ensemble for their first ACDA convention performance in 1974. During his tenure, the High School Choral Clinic and Christmas Candlelight Concert, modeled after the English Lessons and Carols, were started and have continued annually throughout the scope of this study. Couch grew the popularity of both the clinic and the Candlelight Concert, took the Concert Choir on two European concert tours, and cultivated collaborations with many professional orchestras. </p><p> This study concludes that the Concert Choir is a choral organization influenced by the sacred a cappella choral traditions; however, it was not dominated by it. This study further identifies that the development of the annual Christmas Candlelight Concert and spring tour were foundational for the choir's activities each year. Documentation illustrates each director's willingness to accept this heritage and develop the Concert Choir accordingly throughout its history.</p>
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Carfoot, Gavin Steven. "Deleuze and music : a creative approach to the study of music /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18365.pdf.
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Gerber, Casey Lynn. "Ear training and music reading methods used by Philip C. Hayden : music literacy through rhythm forms /." Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850417161&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279215869&clientId=22256.
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Thesis (Ph.D.)--University of Mississippi, 2008.<br>Typescript. Vita. "May 2008." Major professor: Alan L. Spurgeon Includes bibliographical references (leaves102-113). Also available online via ProQuest to authorized users.
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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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Branscome, Eric E. "Music Career Opportunities and Career Compatibility: Interviews with University Music Faculty Members and Professional Musicians." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28398/.
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This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music careers that may change the professional expectations of these careers.
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Langager, Graeme Michael Allyn. "Of Text and Tune: The Relationship Between Words and Music in the Choral Music of Gerald Finzi." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155575211.
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Straw, Millard Michael. "Missouri high school music students' perceptions of recruitment techniques utilized by college and university music departments /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9823326.
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Barrowcliffe, Kelly D. "The knowledge of playing-related injuries among university music teachers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ42049.pdf.
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Paradza, James Chikomborero. "Feminist themes in Beyoncé's music as perceived by university students." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/77306.
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This study explores the perceptions of fifteen students from the University of Pretoria’s School of the Arts about the feminist themes in Beyoncé’s music. Beyoncé is a self-proclaimed feminist who advocates for women through her music. An extensive literature review reveals how she can be considered a feminist icon within the popular music genre by considering the development of feminism, feminist theories and themes, and popular music as a locus of social change in popular culture. This feminist case study followed a qualitative research approach within an interpretivist framework. The music videos considered for the study were “If I Were a Boy” (2008), “Diva” (2009), “Run the World (Girls)” (2011), “Pretty Hurts” (2013), “Flawless” (2014) and “Grown Woman” (2014). The data was collected from semi-structured interviews and was analysed using reflexive thematic analysis. The themes revealed that these South African students perceived the feminist themes in Beyoncé’s music as empowering and relatable, but sometimes directed towards the male gaze.<br>Dissertation (MMus (Performing Art))--University of Pretoria, 2020.<br>Music<br>MMus (Performing Art)<br>Unrestricted
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Cheung, Wing-him Edward. "HKU extension : Music & Fine Arts complex /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.
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Triantafyllaki, Angeliki. "Instrumental music teachers' professional identity and practice in a Greek University Music Department and a Conservatoire workplace." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611978.
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Wyder, Gretchen E. "The History of The Ohio State University Symphony Orchestra and String Faculty." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391766067.
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Slight, Claire Louise. "Exploring the university to career transitions of UK music postgraduate students." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13219/.
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This thesis explores the experience of studying taught music master’s degrees by observing both student and higher education perspectives. Little is currently known about the career transitions of taught postgraduate students, as until recently research has tended to focus upon undergraduates and research postgraduates. Additionally, much of the research on musicians’ career transitions has considered music education and performance students. The current thesis focuses upon musicology and music psychology degrees which were non-vocational and lacked compulsory music-making course content. A two stage study was conducted. Stage one involved longitudinal interviews with sixteen student participants who were all enrolled at three English institutions at the beginning of the study. Participants took part in four semi-structured interviews at six month intervals. The aim of these interviews was to observe the students’ experiences during and after their master’s study. Alongside this, stage two aimed to explore the higher education perspective by interviewing course tutors and careers advisors attached to each of the students’ courses. Qualitative analytical methods were used and a social psychology perspective was taken when considering the student experience. This approach highlights the reciprocal interaction between the self and the social environment. The career transition involved a period of personal and vocational development during which individuals were transformed through learning. Participants were motivated to realise a greater sense of personal fulfilment by pursuing their interests and achieving personal goals. The participants’ confidence in their professional practice increased and they developed greater self-awareness which was beneficial when deciding upon career plans. However, students’ coping methods and the extent of their exploration impacted upon their experiences of studying and the career transition. The results highlight the need for clear pre-enrolment information and flexible course structures in order to support students’ developing professional identities.
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Ko, Eunbyol. "Music and Image a performer's guide to Maurice Ravel's Miroirs /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1172781745.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.<br>Title from electronic thesis title page (viewed Apr.3, 2007). Includes abstract. Keywords: Ravel; Miroirs; Performer's Guide; Image; Impressionism; Symbolism; Eunbyol Ko Includes bibliographical references.
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Kim, Hyun Kyung. "Cross-culturalism in Spanish and French piano music, 1900-1910." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242913760.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.<br>Advisor: Jonathan Kregor. Title from electronic thesis title page (viewed Aug. 3, 2009). Includes abstract. Includes bibliographical references.
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Knedler, John Michael. "A history of the University of Oklahoma band to 1971 /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1994.
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Lo, Ling-I. "Music education reform in Taiwan: beginning music teachers' perceptions of their teacher preparation at National Taiwan Normal University." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11121.
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Thesis (D.M.A.)--Boston University<br>The purpose of this study was to investigate beginning music teachers' perceptions oftheir music teacher preparation at National Taiwan Normal University (NTNU) regarding the Arts and Humanities field of the Grade 1-9 Curriculum. Research questions focused on discovering the most and least effective components of undergraduate training at NTNU, identifying the missing components that might have helped beginning music teachers begin their profession more effectively, and having graduates involved in program improvement by presenting their recommendations. A descriptive analysis was conducted on the data received from 129 graduates from the music department ofNational Taiwan Normal University (NTNU). Of the 129 respondents, 69 took teacher education courses and were prospective music teachers. However, due to an overabundance of certified teachers in Taiwan, only 27 of the 69 graduates were able to obtain teaching positions.
Beginning music teachers' experiences with student teaching, course content (Research in Music Teaching Materials and Methods), and applied music (voice), while in the teacher preparation program, helped prepare them to enter and be successful in the secondary music classroom. On the contrary, theoretical courses and advanced musicianship training were reported disconnected from the actual working experiences of beginning music teachers. The components which beginning music teachers expressed they wished had been taught in the undergraduate training program included teaching methods, classroom management, communication skills, knowledge of subject content (i.e., performing arts), music technology, and the theory of curriculum integration design and practice. In the hope of improving the shortcomings and linking the disconnections between training and work, beginning music teachers recommended the music teacher preparation program at NTNU increase the amount of coursework related to classroom realities, extend student teaching, provide more opportunities for classroom observations as well as professional development, and offer teacher education courses earlier in the program.
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Poyser, Rachel. "University music students' thinking about performance : cultural creativity in an educational context." Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:13586.
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This research seeks to explore the knowledge and beliefs of university music performance students, and to see whether any pattern(s) or framework(s) of theory can be postulated. The research also considers the impact on this framework of the educational context, especially the performance assessment element. Relatively little is known about students’ views of music, including its performance, and how these views are affected by experiences of higher education (see Hallam, 2006; Mills, 1996; Pitts, 2002). The project forms a case study of second/third year music students at the University of Hull in the academic year 2007-8. The study is situated within the field of music education, although I will be drawing on and appealing to other research paradigms in my account of the data, including ethnographic accounts of musicians in various contexts (e.g. Cohen, 1991; Finnegan, 1989), and sociological theories of cultural work (e.g. Willis, 1978; 2000). The findings will contribute to music education, to the philosophy and psychology of music within the broader field of musicology, and to sociocultural studies. Ethnographic methodology was used to elicit accounts of students’ experiences and thoughts through interviews, informal discussions, participant observations of rehearsals, and nonparticipant observation of lessons and classes. Specifically, the aim was to investigate the students’ understandings of the phenomenon of music performance, and of their roles as performers; and to ascertain their views of the ‘culture’, or the ‘world’, of performing music, especially within the educational context of the university. Data gathering took place early in the study; analysis of data then began formally, and preliminary findings began to emerge, while relevant literature in the field of music education, music philosophy, ethnography and ethnomusicology was examined, with a view to contextualising the study amongst investigations within and outside the musicological domain. The findings sit within the relatively recent corpus of research known as critical musicology. Although the intention of the research is not necessarily to inform future practice, either within the institution in which the fieldwork took place, or in other music education establishments, the empirically-derived, grounded theory emerging from this study may be considered sufficiently interesting to have the potential to influence policy in such institutions as aim to provide music education.
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Hanson-Dvoracek, Andrew. "Julius Eastman's 1980 residency at Northwestern University." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1226.
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Post-minimalist American composer Julius Eastman's residency at Northwestern University in 1980 provides a rare opportunity to mitigate, if not eliminate, the problems involved in defining his compositional style. Eastman occupies a complex and unlikely position in late twentieth-century music as an openly gay, African-American composer of serious art music who both a member of the Creative Associates at SUNY Buffalo as well as participated in the diverse musical culture of Downtown New York. Eastman's surviving scores are notated in a fragmentary and idiosyncratic fashion and the composer's outrageous personality left few people with whom he worked closely or on a regular basis. However, scores of three of Eastman's works survive. Crazy Nigger, Evil Nigger, and Gay Guerilla were performed on January 16, 1980, as the culmination of Eastman's residency at Northwestern. Eastman's use of inflammatory was influenced by the political timeframe of their composition, particularly black cultural narratives and the state of gay rights conflict in the era between Stonewall and the AIDS crisis. Drawing upon newspaper reports, early scholarship on Eastman's biography, and interviews with concert participants, this thesis documents the rehearsal process and the controversy surrounding the titles of the works. For Members Only, the black student organization at Northwestern, protested advertisements of the concert in the midst of their own conflict with the student government.
A viable analytical framework for Eastman's works draws from the techniques of earlier minimalist theorists, including John Roeder's adaptation of set theory. Crazy Nigger, the earliest and longest of the three works, provides to be the least complex example of Eastman's "vertically additive process." Whereas composer Philip Glass extends an original melodic kernel by adding notes horizontally, Eastman adds notes vertically to create increasingly dense textures. Evil Nigger's use of the process is more complicated, introducing additional elements such as ostinati and de-emphasizing the kind of sectional form found in Crazy Nigger. In Gay Guerilla, the last of the three works to be composed, Eastman totally obscured any salient perception of form by eliding several simultaneous occurrences of the vertically additive process and introducing a quotation of the Lutheran chorale "Ein feste Burg." With these three analysis, a more generalized concept of Eastman's compositional style thus consists of his vertically additive process, the introduction of modernist harmony into minimalist technique, the use of hendecachords (11-note sets), a gradual dissolution with the sectional form dominant in concert-length minimalist works, and a move away from post-modernity that Eastman termed "organic music."
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Dasher, Shannon Flatt. "It's time to face the music singing the praises of popular music in today's curriculum /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/shannon_f_dasher/Dasher_Shannon_F_200808_edd.pdf.
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Thesis (Ed.D.)--Georgia Southern University, 2008.<br>"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by John A. Weaver. ETD. Includes bibliographical references (p. 161-167) and appendices.
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Mann, Jonathan Edward. "Red, white, and blue notes: the symbiotic music of Nikolai Kapustin /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1179852881.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.<br>Advisor: James V Tocco Title from electronic thesis title page (viewed Nov. 17, 2007). Includes abstract. Keywords: Nikolai Kapustin Classical Jazz Piano Includes bibliographical references.
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Champion, Susan Michele. "The musical activities found in selected Orff-Schulwerk elementary music classrooms /." Full text available from ProQuest UM Digital Dissertations, 2006. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1410676541&SrchMode=1&sid=5&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1218549012&clientId=22256.
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Lesch, Felicia Sharron Margaret. "The Certificate Programme in Music : a means of broadening access to higher music education studies at the University of Stellenbosch." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4104.
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Thesis (MMus (Music))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT:
The Department of Music at Stellenbosch University (SU) established the Certificate Programme in Music (CP) in 1999. The programme was created to fulfil a multi-faceted role that would equip potential students who display a high level of musicality, but do not fulfil admission requirements to music studies at Higher Education level.
Initially, the programme was targeted at previously disadvantaged individuals who had had no opportunity to receive formal music tuition. Thereafter, the balance shifted to include all students with diverse cultural backgrounds but with no or insufficient prior musical tuition. Problems experienced by universities globally include growing numbers of students displaying lower levels of academic literacy and the number of potential music students who have not reached the standard required on their instruments or in music theory. Changes to programme content were made as courses were adapted; an example is the Higher Certificate in Music which will soon be a university-accredited qualification. A preparatory course in Music Technology was created for musicians already involved in the music industry, wanting to upgrade their skills or prepare themselves for admission to the BA with Music (Route: Technology) degree.
The objective of this research endeavour was to launch an in-depth investigation into all aspects of the CP. The grounded theory approach of Strauss and Corbin (1990) formed the foundation to the study. Data consisted of records from the CP, interviews and questionnaires. The research design was based on the conditional matrix of Strauss and Corbin (1990).
CP data was compared to national policies governing Higher Education, to SU policies regarding community interaction, and to SU's strategic framework. Categories for
investigation included concepts such as motivation, self-regulation, service learning and the development of emotional intelligence in students. Change theories were explored as a theoretical framework for the CP to cope with the ever-changing landscape of high school education.
Establishing partnerships which are mutually beneficial to the community and the university is listed as an important component of the community interaction policy at SU, and was found to be a significant component of the CP.<br>AFRIKAANSE OPSOMMING:
Die Departement Musiek by die Universiteit van Stellenbosch (US) het die Sertifikaatprogram in Musiek (SP) in 1999 gevestig. Die program is ontwerp om 'n uiteenlopende rol te vervul vir voornemende musiekstudente wie musiektalent toon, maar wie nie aan die nodige toegangsvereistes voldoen om musiekstudie op Hoër Opvoedkundige vlak te neem nie.
Aanvanklik was die program gemik op voorheenbenadeelde persone wat nie die geleentheid gehad het om formele opleiding in musiek te ontvang nie. Daarna het die behoefte verskuif deur studente uit verskeie kulturele agtergronde, wie nie vorige musiekopleiding gehad het nie, in te neem. Wêreldwyd ervaar universiteite onder andere probleme met studente wat toenemend laer vlakke van akademiese geletterdheid toon, asook met die groeiende getal studente wat nie die nodige vlak in prakties sowel as musiekteorie bereik nie. Veranderinge is aangebring in die program en kursusinhoude is gewysig om verdere opleidingsmoontlikhede te bewerkstellig; die Hoërsertifikaat in Musiek is een voorbeeld – dit sal binnekort 'n universiteits-geakkrediteerde kwalifikasie wees. 'n Voorbereidende kursus in Musiektegnologie is spesiaal geskep vir kandidate wat reeds in die musiekbedryf is, of wat voorbereiding vir toelating tot die graadkursus BA met Musiek (rigting: Tegnologie) nodig het.
Die doelwit van hierdie navorsing is om ʼn deeglike ondersoek in alle aspekte van die SP na te gaan. Strauss en Corbin (1990) se gegronde teorie was die uitgangspunt vir hierdie ondersoek. Die data bestaan uit aantekeninge van die SP, onderhoude en vraelyste. Die navorsingsontwerp is gebaseer op die voorwaardelike matriks van Strauss en Corbin (1990).
Die SP se data is vergelykbaar met die regering se nasionale beleid met betrekking tot Hoër Onderwys, sowel as die US beleide sover dit betrekking het op die gemeenskapsinteraksie en die strategiese raamwerk van US. Kategorieë wat ondersoek is, sluit onder andere konsepte soos motivering, selfgereguleerde, diensleer en die ontwikkeling van emosionele intelligensie in.
Die vestiging van vennootskappe met wedersydse voordeel vir beide die universiteit en die gemeenskap is aangewys as 'n belangrike komponent van die gemeenskapsinteraksie beleid by US. By hierdie ondersoek is vasgestel dat dit ʼn groot komponent van die SP is.
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Spencer, Steven John. "Musicians at the margins : a case study of the role of instrumental music teachers in a university music department." Thesis, University of Wolverhampton, 2015. http://hdl.handle.net/2436/561191.
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This study presents the outcomes of an exploration of the ways in which instrumental music teachers (IMTs) engaged to teach in UK university departments experience their work and interpret their role. It provides the basis for realistic steps for enriching their contribution to and relationship with the department in which they are situated. The area of activity was examined through a qualitative research approach within a single case study design that highlights the particularities and complexities of the case and of its context. It progressed through semi-structured interviews, document review, job-shadowing and a research diary that engaged participants in an iterative process aimed at generating rich descriptions of the situation and increasing the veracity of its subsequent interpretation. The findings echo the isolated location found in earlier studies of IMTs in HE (Burwell, 2005; Haddon, 2009; Purser, 2005, Young et al, 2003) but note that they did not display the secretive or isolationist tendencies previously espoused. Instead there was a narrative of neglect and exclusion by the employer that contributed to a low sense of entitlement from these employees who occupy a peripheral and static position at the margins of departmental operations. It concludes that IMTs do not form a convenient organisational sub-unit (Weick and Orton, 1990) or a community of practice (Lave and Wenger, 1991) that would respond in a uniform fashion. Instead, they experience their engagement with the university in an individual manner framed by their personal and professional environment or umwelt (Uexküll, 1985) and interpreted according to their particular interests, needs and priorities. Finally it suggests that the employing department must recognise this diversity and facilitate greater participation of its IMTs through the creation of permeable boundaries that permit but do not require involvement in curriculum design and assessment, teaching innovations and research into instrumental pedagogy.
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Phillips-Farley, Barbara C. "A history of the Center for New Music at the University of Iowa, 1966-1991." Diss., University of Iowa, 1991. https://ir.uiowa.edu/etd/4937.
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Tavoras, Vilius. "Stimulation of expression of artistic individuality of future music teachers at university." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2009~D_20100122_105328-41139.
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Peculiarities of the expression of artistic individuality of future teachers are analysed in the dissertation. Problem of the investigation has been formulated: in what way and what impact the musical activity can exert on artistic individuality of future music teachers and to what extent this impact can be optimised. The model of the expression of artistic individuality of future music teachers has been created and substantiated both theoretically and empirically. The model encompasses the components of reflexivity, creativity, high artistic value and responsibility. Manifestations of artistic individuality in musical activity of future teachers and the level of expression of these manifestations, interrelations between components of artistic individuality and their dependence on the external factors (the type of higher education institution that provides different musical education (university, non-university) and the year the students are in, as well as internal factors (musical abilities, artistic experiences and recognition of the significance of values) have been revealed by the diagnostic examination.
Statistically significant changes in the expression of artistic individuality of future music teachers have been determined and strategies for developing the expression of artistic individuality of future music teachers have been brought out and tested in the course of the education project. On the basis of the data of the research work the basic brought out strategies... [to full text]<br>Disertacijoje analizuojami būsimų muzikos mokytojų meninės individualybės raiškos muzikinėje veikloje ypatumai. Iškelta mokslinė problema: kaip ir kokią įtaką muzikinė veikla gali daryti būsimų muzikos mokytojų meninei individualybei ir kiek šią įtaką įmanoma optimizuoti. Sudarytas ir teoriškai bei empiriškai pagrįstas būsimų muzikos mokytojų meninės individualybės raiškos modelis, apimantis refleksyvumo (išreiškiamo per muzikos interpretavimo autentiškumą, savo gebėjimų vertinimą ir savo orumo jautimą), kūrybiškumo (per muzikos interpretavimo originalumą, vertinimų savitumą ir išgyvenimų intensyvumą), meniškumo (per muzikos interpretavimo harmoningumą, vertinimų gilumą ir išgyvenimų estetiškumą) ir atsakingumo (per prisiėmimą atsakomybės už muzikos kūrinių interpretavimą, vertinimų dorovingumą ir pareigos jautimą) komponentus.
Atlikus diagnostinį tyrimą atskleista būsimų muzikos mokytojų meninės individualybės muzikinėje veikloje apraiškos, jų tarpusavio sąsajos, raiškos lygis, priklausomybė nuo išorinių (aukštosios mokyklos tipo ir studentų kurso) bei vidinių (muzikiniai gebėjimai, meniniai išgyvenimai ir vertybių reikšmingumo pripažinimas) veiksnių.
Atlikto ugdymo projekto metu atskleisti meninės individualybės raiškos pokyčiai ir pagrįstos būsimų muzikos mokytojų meninės individualybės raiškos plėtojimo strategijos.
Remiantis atlikto disertacinio tyrimo rezultatais, pateiktos rekomendacijos pedagogams muzikos mokytojų rengimo praktikoje taikyti praktiškai patikrintas... [toliau žr. visą tekstą]
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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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Starnes-Vincent, Carolyn Ann. "A history of the music department at Emory College/University, 1836-2010." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11056.
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Thesis (D.M.A.)--Boston University<br>Emory University has a well-established music department with a long and important history, which was not documented until the present research. The history is also interwoven with the history ofthe establishment of the college. On December 10, 1836 the Georgia General Assembly granted the Georgia Methodist Conference a charter to Emory College. The school re-located to the suburban area of Atlanta known as Druid Hills in DeKalb County and was re-chartered as Emory University in 1915.
Emory University's reputation rests on the fame of its medical school; however, since the 1800s, music has had an important role in the life ofthe college and university community. It holds a rich heritage, which continues to be shared around the world.
The research is an historical study of the Emory University Music Department, 1836- 2010. It focuses on the founding of the music curriculum prior to the actual organization ofthe department, the circumstances under which the department was developed, the historical role music has played at Emory over the course of one hundred seventy-four years, how the music curriculum has evolved as the university has grown, and the influential individuals in the Emory University music department. The study will describe both past and current music curricula, including the implementation of the baccalaureate and master's degree programs in music and sacred music. Music class offerings, as well as the development of degree requirements, will be documented through information obtained in college and course catalogues from 1927 to 2010. Catalogues published prior to 1927 will be reviewed for music course offerings, and it will be determined whether these were credit or non-credit courses.
The study is historical in nature, utilizing primary sources found in the archives at the Emory at Oxford campus and Emory University. The primary sources will include individual documents such as personal letters, scrapbooks, photographs, flyers, yearbooks, newspaper clippings, programs, and recordings. Oral history sources will include interviews with faculty and students, both past and present. Recorded interviews will be completed through audio and electronic mail methods. Secondary sources will include books, Emory alumni newsletters/magazines, and electronic information describing music programs and events at Emory College/University. These procedures will illustrate the historic role of music at Emory College/University, Emory's affiliation with the Methodist/United Methodist Church, and the music department's correlation with music education.
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McCammon, William Lodge. "Chemistry to Music: Discovering How Music-Based Teaching Affects Academic Achievement and Student Motivation in an 8th Grade Science Class." NCSU, 2008. http://www.lib.ncsu.edu/theses/available/etd-06122008-160544/.
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Teachers should have access to new and innovative tools in order to engage and motivate their students in the classroom. This is especially important as many students view school as an antiquated and dull environment â which they must seemingly suffer through to advance. School need not be a dreaded environment. The use of music as a tool for learning can be employed by any teacher to create an engaging and exciting atmosphere where students actively participate and learn to value their classroom experience. Through this study, a product and process was developed that is now available for any 8th grade science teacher interested in using music to enhance their content. In this study 8th grade students (n=41) in a public school classroom actively interacted with modern songs created to enhance the teaching of chemistry. Data were collected and analyzed in order to determine the effects that the music treatment had on student achievement and motivation, compared to a control group (n=35). Current literature provides a foundation for the benefits for music listening and training, but academic research in the area of using music as a tool for teaching content was noticeably absent. This study identifies a new area of research called âMusic-based Teachingâ which results in increases in motivation for 8th grade students learning chemistry. The unintended results of the study are additionally significant as the teacher conducting the treatment experienced newfound enthusiasm, passion, and excitement for her profession.
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Willson, Simon. "A portfolio of compositions presented for the degree of PhD in music composition at the University of Aberdeen." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=136866.
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This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently. Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language. In contrast, two works (<i>Aubade</i> and <i>So Turn Your Heart</i>) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance. From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.
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Griswold-Nickel, Jennifer Ann. "Hugo Wolf's Penthesilea an analysis using criteria from his own music criticism /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1196011316.
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Thesis (Master of Music)--University of Cincinnati, 2007.<br>Advisor: Mary Sue Morrow. Title from electronic thesis title page (viewed Feb. 6, 2008). Includes abstract. Keywords: Hugo Wolf; Penthesilea; symphonic poem; Heinrich von Kleist; music criticism; Vienna; Wiener Salonblatt; compositional aesthetic Includes bibliographical references.
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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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<p> 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. </p><p> 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. </p>
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Allen, Milton. "An index of wind band literature analyses from periodicals and university research." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148431169.
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George, Susan B. "Music and learning resources : a natural combination /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0033/MQ47451.pdf.
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Kyakuwa, Julius. "Exploring African musical arts as community outreach at the University of Pretoria." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60374.
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Flora, Sim A. "An analytical anthology of improvised solos designed to supplement the formal teaching of jazz improvisation and jazz theory at the university level /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.
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Ninmer, Andrew J. "Non-curricular elements to a successful university jazz performance program| A study of UNT, IU, and CSULB." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528009.
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<p>This project report examines the importance of non-curricular elements in a successful collegiate jazz performance program. In order to understand what makes a program successful, this paper first reviews the history of three successful jazz programs—Indiana University (IU), University of North Texas (UNT), and California State University, Long Beach (CSULB)–and evaluates the components that led to their success. After a brief introduction of these three programs, the non-curricular elements that help to form each successful university jazz performance program are examined. Oftentimes, non-curricular elements are perceived as non-essential and therefore their benefits are not fully realized. Using IU, UNT, and CSULB as a benchmark, this project report examines their approaches to non-curricular ideas. This study will provide an understanding of how a prospective student might prepare for and benefit from these elements as part of a comprehensive collegiate jazz performance program. </p>
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Kim, Yoomi J. "The evolution of Alexina Louie's piano music reflections of a soul searching journey /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1241858005.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.<br>Advisor: Joel Hoffman. Title from electronic thesis title page (viewed Jan. 27, 2010). Includes abstract. Keywords: Canada; piano; contemporary; composer; music; Alexina Louie; coloristic; jazz; blues; exotic; Asian; Oriental; Chinese; eclectic; virtuosic; boogie-woogie; interview; performance; In a Flash; Scenes from a Jade Terrace; Fastforward. Includes bibliographical references.
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Yang, Shuan-Chen. "Struggle for recognition Wen-Ye Jiang, Chih-Yuen Kuo, and their piano music /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1219072963.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.<br>Advisor: Frank Weinstock (Advisor) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: Chih-Yuen Kuo; Wen-Ye Jiang; Taiwan piano music Includes bibliographical references.
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Li, Rui. "OVERCOMING INITIAL HURDLES: STRATEGIES FOR DEVELOPING A UNIVERSITY FREE IMPROVISATION ENSEMBLE." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/52.
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New free improvisers may come across six major problems as they learn to improvise: imbalance between technique and music, incorrect perception of limitation, imbalance between rationality and emotion, lack of enthusiasm, inability to view criticism as a source of creativity, and misunderstanding of mistakes and risks. In this thesis, I propose a set of effective pedagogical tools as possible solutions for students and groups interested in exploring the beauty of free improvisation.
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Handel, Amanda Jane. "Music of balance circles and squares /." View thesis View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041022.170632/index.html.
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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004.<br>Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.
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Jones, David Kenneth. "The music of Jeffrey Lewis." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-music-of-jeffrey-lewis(b712684d-e7c0-4194-9932-e484dd60a2e0).html.
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The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.
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Owen, Thomas. "University music students' experiences of performance anxiety and how they cope with it." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12467.
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The purpose of the present study was to investigate the lived experience of post secondary music students who experience music performance anxiety (MPA). Also, this study investigated how these students cope with MPA. Ten university-level music students participated in a series of interviews. Content analysis of the data was used to identify a number of important themes. Upon examination of the data, it appears that the experience of MPA and how music students cope with MPA is varied and complex. Possible implications of this study include gaining insight into the needs of music students who seek counselling for performance anxiety as well as informing counselling interventions in general. Limitations of the present study and suggestions for future research will also be discussed.
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Lorenzino, Lisa M. "Educational reform and the process of change in Canadian university music education programs." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30185.
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This study examined the perceptions of music education students, professors, administrators and music teachers in the field with respect to the call for reform in Canadian music teacher training programs. The role that these various groups envision themselves having in this process was also investigated. Fifty-five subjects from the provinces of Quebec and Alberta responded to items on a written questionnaire. From within this subject pool, 19 subjects participated in a series of two interviews in order to gain further insight on various questionnaire items. Results demonstrated a moderate degree of similarity in responses from the stakeholder groups on numerous issues including the current status of music education programs, recommendations for future reform, and effective methods to enact such reforms. Results highlighted the need (a) to increase collaboration levels amongst all stakeholders involved in the process of music teacher training reform and (b) to better align the curriculum content of the university classroom with the needs of the teaching field. Implications for further practises are discussed.
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Boyle, Dale. "Exploring a university teacher's approach to incorporating music in a cognition psychology course." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104513.
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This qualitative study explored a university teacher's approach to incorporating music in a Cognition psychology course. Data sources included participant interviews, professor interviews, and field notes. The study was guided by three main research questions: How is music integrated into a higher education Cognition psychology course? How do students perceive the role music plays in the course? What does the professor do in the classroom and how does he explain what he does? Constant comparison analysis of the participant interviews revealed three major themes, each comprising patterns that ran through the data. Under the theme “Connecting With Students,” the patterns were: establishing a personable atmosphere; showing empathy to students; facilitating student involvement; and tapping into student culture with music. The patterns under the “Optimizing Learning” theme were: enticing students with passion; reducing exam tension; and clarifying concepts dynamically. The “Creating Salient Moments” theme contained two patterns: holding attention (with music and humour) and triggering memory (with music and humour). Data analysis also involved the writing of musical memos, a musical way to represent data that served to highlight the essence of a pattern, create holistic representations that drew from the different data sources, and represent the data in an embodied way. To contextualize the participant themes, the analysis of the field notes produced vignettes, which were detailed aggregated descriptions of typical classroom events. Using the analogy of “Teaching as Improvisational Performance,” this study explores the notion that a constructivist teacher is essentially an improvisational performer. Although the research site was a large university classroom with almost 600 students, the analysis of the data revealed that the professor was able to implement constructivist principles in his teaching. The study concluded that teachers need preparation and support to develop improvisation skills to deliver a constructivist teaching approach, particularly in large classrooms. Future research should explore the links between constructivist teaching, performing, and improvising as well as the implications for pedagogy and teacher preparation.<br>Cette étude qualitative explore l'approche d'un professeur d'université qui a incorporé la musique dans un cours de psychologie cognitive. Les sources incluent des entrevues avec des participants, des professeurs et des notes d'observations sur le terrain. L'étude a été alimentée par trois questions de recherche principales: comment la musique s'intègre-t-elle dans un cours de psychologie cognitive? Comment les étudiants perçoivent-ils le rôle que la musique joue dans le cours? Qu'est que le professeur fait dans la classe et comment l'explique-t-il?Une analyse constante et comparative des entrevues des participants a révélé trois thèmes majeurs qui comprennent chacun des éléments saillants qui ont été identifiés à travers les données compilées. Sous le thème « entrer en relation avec les étudiants », les éléments saillants étaient: établir une atmosphère personnalisée; démontrer de l'empathie pour les étudiants; faciliter l'implication des étudiants et entrer dans leur culture à l'aide de la musique. Les éléments saillants sous le thème « Apprentissage optimisé » étaient: captiver les étudiants avec passion; réduire la tension des examens et clarifier les concepts de façon dynamique. Le thème « créer des moments marquants » comprend deux éléments saillants: soutenir l'attention (avec la musique et l'humour) et déclencher la mémoire (avec la musique et l'humour). L'analyse des données a également impliqué l'écriture de « mémos musicaux » dans le but de représenter les données qui ont servi à exposer la composition d'un élément saillant de manière concrète et à créer des représentations holistiques issues de différentes sources. Afin de contextualiser les thèmes des participants, l'analyse des notes d'observation a produit des fiches qui sont en fait des descriptions détaillées d'évènements typiques qui peuvent se produire en classe. En utilisant l'analogie « enseigner à la manière d'une performance improvisée », cette étude explore la notion qu'un enseignant constructiviste est essentiellement un improvisateur. Même si le site où s'est conduite la recherche était une grande salle d'université de 600 élèves, l'analyse des données a révélé que le professeur demeure en mesure d'implanter des principes constructivistes dans son enseignement. L'étude conclut que les enseignants nécessitent de la formation et du soutien pour développer des notions d'improvisation afin d'utiliser une approche constructiviste, et ce, particulièrement dans une grande classe. De futures recherches devraient explorer les liens entre l'enseignement constructiviste, l'enseignement-spectacle, l'improvisation ainsi que leurs implications dans la pédagogie et dans la formation des maîtres.
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Lorenzino, Lisa M. "Educational reform and the process of change in Canadian university music education programs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0029/MQ64167.pdf.
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