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1
Goad, John C. "Dewey Meets Bluegrass: Progressive Educational Theory in the Establishment of Traditional Music Programs in Higher Education." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2506.
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The study focuses on connections between the Progressive era educational theories of John Dewey and present-day bluegrass and traditional music programs in higher education in order to explore a pedagogical basis for such programs. The research specifically examines Dewey’s beliefs in experiential learning, individualization, and vocational education and their current applications in traditional music education. The study included two major components: historical research into Dewey’s writings and primary and secondary sources regarding traditional music education in the United States, and interviews of faculty members in college and university bluegrass and traditional music programs. The thesis of this study is that experiential learning historically has been part of traditional music education and that it is an essential aspect of bluegrass and traditional music programs in higher education in the present day, leading to students taking part in meaningful learning experiences that contribute to their occupational goals.
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Dennis, Robb. "Multiple Intelligence Theory and its Application in Modern Vocal Pedagogy." Scholarship @ Claremont, 1998. http://scholarship.claremont.edu/cgu_etd/99.
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In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.
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Wang, Qiaorong. "APPLYING AMERICAN PEDAGOGICAL APPROACHESTO FIRST-YEAR MUSIC THEORY CLASSES IN CHINESE COLLEGES." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1588705054276667.
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Ripley, Angela N. "Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437583773.
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Billingham, Lisa Adalade. "The development of a gestural vocabulary for choral conductors based on the movement theory of Rudolf Laban." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290423.
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The purpose of this study was to create a conductor's gestural vocabulary that can be used to demonstrate stylistic elements in choral music. Specifically, the study assigned Laban Movement Theory elements of Effort and Body to specific choral music examples that demonstrate differences in articulation, rhythm and phrase shape. This study explored Laban Movement Theory and Bartenieff Fundamentals as they relate to body movement and application to the conducting gesture. Gestures were designed following musical analysis and subsequent study with Janice Meaden, an internationally recognized movement instructor and certified LMA/Bartenieff Movement Analyst. These gestures were based on Rudolf Laban's Eight Effort Elements in Combination (float, wring, glide, press, flick, dab, slash and punch). Modifications to the gestures were based from ongoing feedback from a college level choir. At the conclusion of the study, all gestures were evaluated in terms of their ability to communicate the desired response. Six of the eight designed gestures were deemed to be successful, with two needing further modification. Implications for teaching choral conducting as well as conducting choirs are drawn. Conclusions drawn from the study support the application of Laban Movement Theory to the conducting gesture as an useful tool for creating expressive conducting gestures.
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Haning, Marshall A. "The Role and Effects of Presentational Performance in American Music Education." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459179430.
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Cain, Timothy. "Mentoring trainee music teachers." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192637/.
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This study analyses the relationships between Secondary school music trainee teachers and the mentors who are primarily responsible for training them to teach music. The methodology was an in-depth collective case study of a sample of trainee music teachers and their mentors, adopting primarily the methods of non-participant observations and interviews. The study is located within a review of pertinent theories of mentoring and an analysis of empirical research. This analysis compares studies of ITT mentoring in different contexts, and demonstrates that, despite the diversity of mentoring practice, research has produced findings which are consistent across two or more studies. The collective case study consists of five individual cases ofmentoring relationships, each of which is presented so as to preserve its individuality. The talk in meetings between trainees and their mentors is then analyzed drawing on Mercer's (1995) typology of classroom talk as exploratory, cumulative and disputational. The analysis shows that exploratory talk has an underlying structure which is missing in cumulative and disputational talk. Analysis ofthe talk also reveals three further types of conversation between mentors and their trainees which are characterised as solo conversations, short conversations and parallel monologues. The study has two major conclusions: first, that in mentoring conversations exploratory talk is more likely to promote productive reflection than other types of talk, and second, that the potential for exploratory talk to promote reflection may not be fully realised by music mentors.
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Clench, Renate. "Howard Gardner's multiple intelligences theory, outcomes-based education and curriculum implementation in South Africa : a critique of music education in the general education and training phase." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1218.
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This study examines the current curriculum for primary schools in South Africa – Curriculum 2005 (C2005) and the subsequent Revised National Curriculum Statement (RNCS), with Outcomes-Based Education (OBE) as its fundamental educational approach - with specific reference to the place of music education in it. While the underlying principles and scope of this curriculum has many positive attributes, numerous studies have shown that there are still major stumbling blocks in the way of its successful implementation. Since the emphasis of the Arts and Culture Learning Area is on the nurturing of generic values and attitudes towards culture, it does not provide for sufficient development of subject-specific musical skills and knowledge. Instead this vital form of musical learning continues to be provided in the form of extra-curricular music programmes by those few schools who have the staff expertise and the funding to do so. Music therefore remains accessible only to the privileged few. .Although C2005 encourages and requires significant levels of integration in Learning Outcomes and Assessment Standards within and across Learning Areas, this is currently one of the least successful aspects of its implementation. This lack of success, it is argued, is in part the result of severe limitations in the training of teachers and the availability of necessary resources in schools, and in part the result of the curriculum’s own limited interpretation of integration. Psychologist Dr Howard Gardner’s Theory of Multiple Intelligences is a holistic approach to education that stresses, amongst other things, that Musical Intelligence is one of eight vital forms of intelligence that should be accessible to all children. It is argued that educational approaches based on Gardner’s Multiple Intelligences Theory provide some insights into the integration of Musical Intelligence with other forms of learning that may usefully be applied in C2005.
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Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.
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Kteily-O'Sullivan, Laila Rose. "Freshman Music Students' Identification With Expected Tasks in the Music Theory Class as a Relevant Part of Becoming a Musician." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc1038826/.
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The purpose of the study was to investigate freshman music students' identification with expected tasks in music theory class including aural, written, and performance requirements. The second research problem compared students' descriptions with actions in class to determine the presence of role taking (the conscious adherence to a set of behaviors) or role playing (the unconscious assumption of a set of behaviors).
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Fleischaker, Rachael Lynn. "Culturally Responsive Music Education: Conceptual and Practical Approaches of Elementary General Music Teachers." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620832759515162.
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Roche, Catherine Mary. "A philosophically based praxis for teaching symphonic music literature." Scholarly Commons, 2003. https://scholarlycommons.pacific.edu/uop_etds/2605.
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This study is directed to an awareness of and exploration concerning the wealth of the cultural heritage that the modern world possesses in the great body of symphonic music literature. A survey of musical education in this field showed a neglect of the subject compared to time and attention given to skills, theory, and performance. Practices are based on random individual philosophies for the most part. The author has pursued the development of techniques for teaching symphonic literature for several years, always questioning the educational philosophy that was best suited to this teaching, and searching for a pedagogy based on the best philosophy discernible. The emerging aesthetic philosophy of the 1960's showed fresh promise of investigation into theory and method. The work of Stephen Pepper who formulated four World Hypotheses was used as a pivot to evaluate the hypothesis that best suited the project at hand. Pepper chose a theory termed Contextualism exemplified by the theory of John Dewey presented in his Art as Experience (1980). This philosophy of experience was in line with the emerging phenomenological thought. Kaelin, keenly interested in education, in his extensive writings has given an account of aesthetic theory based on existential phenomenology. These theories were applied to music education, and methodological considerations were treated gathered from followers of Dewey, Champlin, Villemain, and Ecker. An outline was made of the contextualist/experimentalist proposition for art education, and Kaelin's description of aesthetic education was presented. Philosophies of music and music education were examined. Schwadron and Reimer laid the foundations for an aesthetic music education but by the 1990s the field was expanding rapidly. The analysis of philosophies with regard to music knowledge by Stubley in the Handbook of Research on Music Teaching and Learning (1992) was used as a base to examine emerging bodies of thought. She favored phenomenological perspectives of constructivist theories. Ingarden's theory of the musical work and the process of appreciation were examined along with several other phenomenological points of view. Kaelin's application of the theory he termed “Aesthetics Proper” to music, its temporality, and the funding of significance through apprehension of the qualities of a work, were adopted for application to a praxis. A method using time-contour charts constructed from musical scores, created by the author, was presented, with a description of the procedure, the role of the teacher, the nature of the experience of music, as well as cognitive and expressive characteristics of the process. Two examples, the first movement of Mozart's Symphony #40, and two selections from Holst's, The Planets , were used with lesson plans and the constructed time-contour charts for each. These were analyzed for cognitive and expressive characteristics, with ideas for discussion and evaluation. An extensive list of reference and source materials was included.
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Darby, Megan. "Challenges to Student Success in an Introductory Music Theory I Course." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5066.
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A state college in the mid-Atlantic United States requires a music theory course for 4 of its undergraduate music programs. In the 6 years prior to this study, students had difficulty with the course, with many failing or withdrawing. Tinto's theory of student retention served as the foundation of the conceptual framework for this study, the purpose of which was to identify challenges to successfully completing the course. This purpose was reflected in the study's driving research question focused on students' experiences regarding challenges to success. In this instrumental case study, 12 students and 2 instructors participated in individual interviews, and 7 students participated in a focus group. Initial coding was used for the 1st-cycle coding phase. Axial coding was used for the 2nd cycle. Seven themes emerged through an iterative categorization protocol: 3 student-related themes, 3 college-related themes, and 1 theme relating to solutions for overcoming challenges to success in Music Theory I. Although data indicated that students experienced diverse challenges to success, the need for additional help was most evident. Thus, a logical project for this study was a music theory lab designed using best practices for course redesign and adult learning found in the literature and developed to support student learning of the concepts presented in Music Theory I. This study may contribute to positive social change by providing an opportunity for students at the college to receive academic support structured to meet their learning needs and improve their performance in Music Theory I, which may prevent students from withdrawing from or failing the course.
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Morehouse, Paul G. "Investigating Young Children's Music-making Behavior: A Developmental Theory." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/73.
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We have many developmental theories contributing to our understanding of children as they meander steadfastly toward maturation. Yet, none have reported on how young children interpret the qualitative meaning and importance of their own music-making experiences. Music created by average, not prodigious, young children is perceived by adults as “play” music rather than “real” music. But do young children take the same view as adults? When Piaget speaks of the young child’s qualitatively unique view and experience of the world (Ginsberg & Opper, 1988), can we assume that his statement encompasses young children’s predispositions related to music-making?
Music is understood to occur when people act intentionally to produce and organize sound into rhythm and form. The guiding questions for this study are, What evidence is there to show that, when following an adult music leader, young children can engage in authentic music-making behavior and produce identifiable musical structures that move beyond random sounds or ‘noise’? What evidence is there to show that children's music-making behavior develops according to developmental stages? trek
This qualitative field study observed and videotaped over 100 children between 2 and 7 years old who chose to engage in music-making behavior in a socially-rich school environment during structured activities guided by an adult “music leader.”
The data gathered from this study suggest that young children’s motivation to make music derive from predispositions unrelated to notions of cultural and artistic expression thereby differing from adult musical needs and are instead based on more primary responses to their own developmental needs and their social environment. Functioning as “music leader,” the PI appeared to serve as an indispensable interface for assuring authenticity in the children’s music-making at all stages of development. The older children did not introduce any novel behavior specifically related to making music. However, due to the progression of cognitive and social maturity across the range of ages, new extra-musical behavior (EMB) slowly emerged at each developmental stage always seeming to enrich the experience relative to a particular group.
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Talbott, Christy J. "A Foundational Approach To Core Music Instruction In Undergraduate Music Theory Based On Common Universal Principles." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211987976.
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Sandoval-Cisternas, Enrique. "UNDERGRADUATE MUSIC THEORY TERMINOLOGY USED BY SELECTED SPANISH-SPEAKING INSTRUCTORS IN CHILE: DEVELOPMENT, SIMILARITIES, AND LIMITATIONS." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/119.
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Six Chilean music theory instructors participated in an anonymous survey applied over an online platform between April and October of 2017. These instructors were invited to participate in this study because of their role in teaching music theory at influential institutions, each of which is ranked among the top ten best universities in Chile. The questions included in the survey relate to the terminology used to refer to music elements upon which current American music theory textbooks consistently agree, and that are usually taught during the first two years of undergraduate studies in accredited American music schools: types of cadences, periods, sentences, types of 6/4 chords, augmented sixth chords, tonicization, modulation, binary form, and the exposition of the sonata form.
Music theory terminology and its standardization facilitates the communication of the participants of the domain, as well as the transmission of knowledge and practice of the field. This characteristic of music terminology is an essential pedagogical tool for the training of musicians, especially undergraduate students. In order to evaluate and compare the level of standardization of music theory terminology used by Chilean instructors, this research will first assess the level of standardization of seven American music theory textbooks, and one British textbook.
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Crow, Derrick Alan. "YOU'RE THERE IN THE TIME SLIP: A HERMENEUTIC EXPLORATION OF AESTHETIC EXPERIENCE IN MUSICKING THROUGH THE LENS OF MIHALYI CSIKZENTMIHALYI'S FLOW STATE THEORY." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/532.
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The purpose of this study is to provide a detailed description of the aesthetic experience as it is encountered in music, and, in so doing, to develop an operational definition of aesthetic experience as it is understood and experienced by practitioners in relation to the phenomenon as it is found in the canon of literature. The following specific questions are addressed: first, how do philosophers and practitioners view aesthetic experience; what commonalities or differences do these views have; and what understandings can be gained through an examination of these theories? Second, when the views of practicing music teachers, philosophers and pedagogues are compared and analyzed, how do these align with Csikszentmihalyi's Flow State Theory? Finally, does Csikszentmihalyi's Flow State Theory provide a functional framework for aesthetic experience; how does the employment of this resolve the issues of communication; and does this allow for a clearer understanding of aesthetic experience?
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Radford, Crystal Joesell. "In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306255326.
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Kielczewski, Nicole M. "The Effect of Music Learning Theory on Sight-Singing Ability of Middle School Students." University of Toledo / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1302292848.
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Curran, Sara. "'Why aren't we doing more with music?' : an exploration of two integrative mainstream-special school music projects." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6622/.
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Secondary school music curricula often alienate young people because of the disjuncture between their experiences of music outside and inside school (Spruce and Matthews, 2012). Music also continues having to justify its place in many secondary schools (Philpott, 2012). Offering ideas to expand music educational thinking and increase its social relevance, this research explores two secondary mainstream-special school integrative musical projects using the theoretical framework of ‘musicking’ (Small, 1998), which asserts the centrality of relationships in any form of musical performance. Using two case studies, the relationships between teacher and pupil participants are explored. Small makes no mention of musicking in the context of children with special educational needs, and this study extends his ideas by developing the notion of an inclusive form of musicking in secondary music education, achieved through the musical integration of mainstream pupils with their special school peers whose verbal communication is severely limited. The self-efficacy of participating teachers is considered an important contributing factor to the projects’ perceived success, enhancing or limiting the likelihood of their application in other secondary educational contexts. Possible ways of augmenting the self-efficacy of teachers from both settings are offered, together with suggestions for future research in this field.
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Bjuvenstedt, Håkan. "Musikteori finns i vardagen : En kvalitativ studie om musikteorilärares syn på musikteori som undervisningsämne." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68319.
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Syftet med denna studie är att undersöka musikteorilärares syn på musikteori som undervisningsämne. Detta har undersökts med fokusgrupper som metod där musikteorilärare i två fokusgrupper samtalar kring sin syn på musikteori som undervisningsämne. Studiens teoretiska ram består av diskursanalys som teori och metod. De transkriberade intervjuerna har analyserats och bearbetats med hjälp av diskursanalys som analysmetod för att därigenom synliggöra olika diskurser om synsätt. Resultatet visar på fyra större diskurser kring lärares syn på musikteori: musikteori som integrerat ämne, musikteori som verktyg för olika musikaliska ändamål, musikteori som gemensamt språk och musikteori som olika aspekter av kunskap.Det framgår även flera mindre diskurser inom flera av de stora diskurserna. Resultatet visar att musikteori bör vara integrerat med andra ämnen och att musikteoretisk kunskap bör ses som praktisk och personlighetsbaserad kunskap. Resultatet visar också att musikteori är ett användbart verktyg för musicerande, att skapa musik, konstnärlighet och för att uppnå musikalisk medvetenhet. I diskussionen lyfts de fyra större diskurserna ifrån resultatet fram, och de diskuteras i relation till tidigare forskning och litteratur.The purpose of this study is to investigate music theory teachers approach to music theory as a teaching subject. This has been investigated with focus groups as a method in which music teachers in two groups are talking about their approach to music theory as a teaching subject. The theoretical framework for this study consists of discourse analysis as theory and method. The transcribed interviews have been analysed and processed using discourse analysis as an analysis method to make different discourses visible. The results show four major discourses about teachers approaches to music theory. There are also several minor discourses in several of the major discourses. The results show that music theory should be integrated with other music subjects where theoretical knowledge should be practical and personality based knowledge. The results also show that music theory is a useful tool for many different purposes. The discussion shows four major discourses: Music theory as an interactive subject, music theory as a tool for various purposes, music theory as common language and music theory as different forms of knowledge which is related to earlier studies.
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Goecke, Norman Michael. "What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1395668797.
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Paul, Stephen John. "Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331148/.
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Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in the music educator or clientele groups.
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Escalante, Samuel. "When Does Race Matter in Music Education?: An Exploration of Race, Racial Hegemony, and Predominantly Latinx Secondary Music Programs through the Theory of Racial Formation." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609151/.
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Latinx students are underrepresented among high school music students in the United States, nationally. However, localized demographics in some parts of the country reveal secondary music programs that are comprised nearly entirely of Latinx students. Still, the experiences of such a large and racially marginalized population as Latinx students remain under-researched in the field of music education. To explore how Latinx racial identity may inform the experiences of Latinx music students and their music teachers, I conducted a post-qualitative study of students and teachers in music classes at large secondary schools in which the Latinx population is 95 percent or more. Data were collected through in-depth, semi-structured interviews with music students and their teachers. To guide my thinking on the role of race in the lives of the participants, I incorporated Omi and Winant's (2015) theory of racial formation throughout the data analysis. Overall findings indicated that race informs much of the experiences of the participants in varying, sometimes subtle ways. Through racism, racial resistance, the formation of racial identity, and the incorporation of both colorblind ideology and race consciousness, the participants provided nuance as to how we may regard the role and significance of race in music education. Implications for developing a racial-justice-oriented paradigm in music education are also discussed.
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Tidd, Tamara A. "Theory and Practice: Rameau's Fundamental Bass Applied to the Contemporary French Overture." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1567795563843124.
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Lilliedahl, Jonathan. "Musik i (ut)bildning : gränsdragningar och inramningar i läroplans(kon)texter för gymnasieskolan." Doctoral thesis, Örebro universitet, Musikhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-27541.
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The purpose of this dissertation is critically to illustrate discursive recontextualization between sociocultural production and reproduction, with respect to both relations within and relations to music education in Swedish upper-secondary school. The starting point for the study is the Swedish upper-secondary school reform, Gy 2011, which has involved a marked reformulation of the agenda for music education in upper-secondary school. The general Artistic Activities disappeared, at the same time as the significance of a specialising education in the field was strengthened. This dissertation is driven by the desire to understand the results of the upper-secondary school reform by explaining the processes and principles involved. But, in a wider perspective, the dissertation deals not only with a single reform, but encompasses a search for the underlying principles that have had, and are having, a regulating effect on the design and positioning of music in publicly regulated education. The results show that structuring of the subject of music takes place primarily through the classification and framing of social relationships in general, and of interactional relationships in particular. The focus of these relationships has shifted from time to time, and varies from context to context, but has always been in relation to something that has been regarded as sacred. In recent times, the framing within music-oriented knowledge practices has become weaker. At the same time, such knowledge practices have shown an increasing need for the drawing of boundaries in relation to other knowledge practices. The latter also has a value in explaining why general music content was removed from the upper-secondary school curriculum, whereas a special and specialising educational programme was able to gain legitimacy.
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West, Justin J. "A Grounded Theory of Music Teacher Large Scale Conference Professional Development Implementation: Processes of Convergence." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248474/.
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The purpose of this study was to understand the process of music teacher large-scale conference professional development (PD) implementation (i.e., the integration of conference-derived learnings into classroom practice). The context of this investigation was two national music conferences, the Midwest Clinic and the National Association for Music Education National In-Service Conference, and one state music conference, the Texas Music Educators Association Clinic/Convention. Using purposive maximum variation sampling, active music teachers (n = 32) who each attended one of these conferences were recruited. Data collection occurred in a series of three participant interview phases, staggered according to which conference participants attended and when each conference was held. Twenty-eight participants were interviewed twice, and four participants were interviewed once, yielding a total of 60 interview transcripts, which were then openly, axially, and selectively coded in accordance to grounded theory method. The principal finding, the cycle of music teacher large scale conference professional development implementation (C-MTPDI), revealed an implementation process in three phases. First, the consideration phase (before/during conference) entailed needs assessment, direct engagement, change articulation, and, for some participants, deterrent factors/contingencies. Second, the realization phase (immediate post-conference) included translation, integration, and recalibration. Third, and finally, the decision phase (3-5 weeks post-conference) included evaluation. The core category, or main theme of the research, was seeking convergence: relevance, practicability, and impact. Contextual conditions included PD worldview and PD policy environment. Avenues for future scholarship include clarifying differences in design and effectiveness among and within music-specific PD models, more fully understanding the status of large-scale conference PD in music education and its effect on practice, and theorizing PD implementation in non-conference contexts. Practical implications include developing new theory-aligned PD policies, putting into place more robust infrastructures of implementation support for large-scale conference attendees, addressing PD funding inequities between teachers in music and non-music disciplines, and helping practitioners to newly conceive "one-off" PD events (e.g., large-scale conferences) as sustainable investments in long-range professional growth.
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Giotta, Kelsey Kordella. "Motivating Young Adolescents in Middle School General Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1586795995479694.
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Haywood, Abby C. "Reconceptualizing music education and introducing the timeline integration model: an interdisciplinary approach using socio-historical contexts." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4641.
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Since the early part of the 1800s many aspects of music education have remained "very traditional" with little changes in underpinning rationales (Jorgensen, 2003, p. 3). Due to this lack of change, a divide exists "between musical ideology and education practice" (p. 4). The primary purpose of this thesis is to suggest that changing the music education profession begins with reconceptualizing music education. The secondary purpose is to propose one solution, the Timeline Integration Model. Reconceptualization is the process of challenging the atheoretical and ahistorical perspectives of traditional curricula (Pinar, 1975). Rethinking curriculum research starts at the intersections of social structure, history, and biography (Popkewitz, 1988). This philosophical qualitative research thesis presents an analysis of the social structure of School of Music programs. It uses the symbolic interaction theory to investigate how language and music-for-music's-sake ideology influence the music education profession. It briefly examines the history of music education and provides a review of literature of symbolic interaction theory and reconceptualization in relation to music education. The symbolic interaction theory is also applied to an autobiography to further investigate the social structure of School of Music programs and the music education profession. The autobiography demonstrates how social structure, history, and biography are interconnected. This thesis introduces the Timeline Integration Model. The Timeline Integration Model is an interdisciplinary approach developed by the author that uses socio-historical contexts to rethink musical learning. The Timeline Integration Model also provides teachers with tools to design meaningful and integrative lessons in K-12 general music classrooms.
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Harman-Bishop, Caroline Marguerite. "Aristotelian virtue and teaching and learning in music performance." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9009/.
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This study investigates the significance of Aristotelian virtue in teaching and learning in music performance. In response to a number of critical issues in professional practice, it is argued that virtue, framed within eudaimonistic happiness, should form an integral part of teaching and learning. Through an examination of Aristotle’s analysis of virtue, and primarily through his Nicomachean Ethics, virtue is presented as having the hallmarks of dynamic and responsive action and therefore as being of potential interest to teachers of music. Having acknowledged that music performance can be a particularly challenging arena, this study also considers why Aristotle, via his analysis in Politics of the reasons for educating students in music, provides further underlying reasons for its inclusion. By considering the work of one of his students, Aristoxenus, the investigation also establishes that here in Aristotle is a philosopher-teacher who is, we can be reassured, very much an informed music ‘amateur’. Noting the twofold importance that Aristotle gives to music in education, that is, how music contributes to our development and the worthwhile nature of understanding music for itself, the discussion explores and clarifies the notion of music performance. A range of frameworks are analysed and, after Godlovitch, personalism is defended as a framework. This is significant because personalism recognises the individual as both musician and human being. Thus, the demands, on both character and intellect, emerge strongly here as they do in Nicomachean Ethics. Having established that music performance is demanding, of both character and intellect, the virtue of courage is argued as crucial. The Aristotelian notion of courage is tested and its reaches extended, partly through the analysis of case studies. Ultimately, it is posited that courageous action forms part of eudaimonistic happiness. This study also considers Egan’s theory that intellectual disturbance occurs during stages of learning, thus providing further demands. It is argued that, in responding to such disturbance, teachers’ practice should embody characteristics of Aristotelian practical wisdom. In this way, it is posited that teachers act as valuable role models, both to their students and to their colleagues, including those colleagues new to the profession. With these challenges now identified and analysed, music performance is conceptualised as gift making. Importantly, this contributes to foregrounding the significant aspect of pleasure that is integral to Aristotelian virtuous action. The discussion closes by providing a defence of the position that Aristotelian virtue is of significance to teachers and students as they navigate their daily existence within the world of music performance.
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Janssen, Brett Allen. "A preliminary comparative study of rhythm systems employed within the first-year college aural skills class." Diss., Kansas State University, 2017. http://hdl.handle.net/2097/35392.
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Doctor of PhilosophyCurriculum and Instruction Programs
Frederick Burrack
Phillip Payne
The purpose of this study was to discover whether differences exist in rhythm pattern achievement of the three rhythm systems Takadimi, 1 e & a, and 1 ta te ta in introductory level aural skills classrooms. Participants (N = 27) were first-level aural skills students in three Midwest colleges. Data were collected by implementing a demographics questionnaire to obtain a descriptive profile of the participants, Gordon’s (1989) Advanced Measures of Music Audiation (AMMA) test to obtain the music aptitude level of the participants, and a researcher-designed pretest and posttest. A significant difference was unable to be determined of rhythm pattern achievement between the three systems. However, results revealed improvement of rhythm reading between the pretest and posttest for all rhythm systems. A significant difference was unable to be determined in achievement between students with low and high aptitude following instruction in a particular rhythm system. The improvements in rhythm reading suggest that progress and achievement can be independent of using any of the three rhythm systems, but further investigation with a larger sample is recommended.
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Fridley, Michael D. "Support materials for the use of Pygraphic's The music writer in the beginning music theory class at Sacramento High School Visual and Performing Arts Center : in partial fulfillment." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2150.
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The objective of this project was to develop the necessary materials to facilitate the use of The Music Writer in the music theory class of Sacramento High School’s Visual and Performing Arts Center. The materials were designed to correct the deficiencies in the programs’ documentation, and include tutorials that sequentially introduce beginning students to the basic features of the program.
The course is designed to teach skills and techniques in music fundamentals while providing students with practical experience involving the current technological advances in the field. These materials will enable the students to utilize professional level software in their study of basic music theory. Specifically, they will be able to use the program to write a simple diatonic melody, which has been composed as an assignment for the course.
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Bygdéus, Pia. "Hur defiinierar och avgränsar några körledare sitt ledarskap ur ett professionsperspektiv?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-71028.
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Olszewski, Carol A. "Experiences of Music Therapy Junior Faculty Members: A Narrative Exploration." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu156812475885396.
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Kirkman, Philip. "Secondary music students' compositional development with computer-mediated environments in classroom communities." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/244366.
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Over the last decade digital technologies have brought significant changes to classroom music, promising support for the realisation of a musical education for all students. National curricula and exam specifications continue to embed technology more deeply. While these changes increasingly impact on music classrooms, there is a growing awareness that the presence of digital technologies may not always promote meaningful compositional development, particularly at GCSE level. A ‘musical’ curriculum seeks to promote meaningful compositional development by building upon a student’s previous musical experience and by providing practical, integrated and collaborative composing experiences. Existing empirical research demonstrates that a wide range of digital technologies are used in secondary classrooms to support students’ compositional processes. When used successfully, such technologies give rise to computer- mediated environments which promote musical composing experiences. At the same time, current models of compositional development do not adequately account for the ways in which such contextual factors mediate students’ compositional development. In response to this, the current research employs a multiple case study approach to explore the ways in which two secondary music students’ compositional development proceeds when working with digital technologies. Drawing from both symbolic interactionism and activity theory as complementary theoretical lenses, students’ own views of their developing composing process are positioned in a critical and reflexive dialogue with the researcher’s own constant analysis. Tools for data collection include a novel synchronous multiple video capture technique (SMV) developed to meet the demands of the project. The methodology draws on ethnographic techniques and the framework for analysis is based on an adapted constant comparative procedure. Set in the context of a UK secondary school the thesis explores several themes which emerge from the stories of Sam and Emily, our two student cases, and which add to current understanding of compositional development with computer-mediated environments. A theoretical model is proposed which presents the process of compositional development in terms of four connections that emerge from Sam’s and Emily’s ways of working. They are: connecting in institutional space, connecting in personalised space, connecting in emancipated space and connecting in shared space. Four developmental points are offered within these spaces: a point of enabling, a point of discovery, a point of transformation and a point of connection. Each point of development is linked to a type of development which, drawing on the literature, have been given the following titles: scaffolded development, serendipitous development, computer-mediated development and creative development. Finally, the study suggests several implications for teachers and avenues for further research relating to the nature of personalised spaces, providing varied contextual opportunities, understanding computer- mediated composing and promoting student ownership.
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Forsén, Lotta. "Sjunkande kunskaper i musikteori? – om en möjlig orsak : En undersökning om förekomsten av musikteoriundervisning bland Sveriges musik- och kulturskolor." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8758.
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Mitt syfte med den här uppsatsen är att undersöka om det finns ett samband mellan de försämrade musikteoretiska kunskaperna bland de sökande till musikhögskolorna och utbudet av teoriundervisning på de svenska musik- och kulturskolorna. För att uppnå detta har jag gjort en kartläggning av förekomsten av musikteori som enskilt ämne på de svenska musik- och kulturskolorna, samt hur denna bedrivs. Jag har använt mig av en enkät som rektorer eller lärare i musikteori har svarat på, samt undersökt antagningsproven (C-proven) i musiklära och satslära från olika år på Ingesunds musikhögskola. Enkätsvaren visar att en tredjedel av dem som svarat, erbjuder musikteori som eget ämne. Dessa skolor hittar vi i både stora och små kommuner medett varierat elevantal. Musikteorin verkar inte ha minskat nämnvärt under de senaste 9 åren. Hos de skolor som inte har teoriundervisning uppges anledningen vara dålig ekonomi, men hos de skolor som har haft, men tvingas lägga ner teoriundervisningen anges orsaken vara bristande elevintresse. Jag har även undersökt lektionernas utformning, lärarnas behörighet, integration av musikteori i instrumentallektionerna och marknadsföring av ämnet. I diskussionen resonerar jag om resultatet kan ge en förklaring till problemet med sjunkande kunskaper i musikteori. Svaren pekar på att det troligtvis inte är ett minskat utbud av musikteori, utan en minskad efterfrågan, som gör att kunskapsnivån har sjunkit.The purpose of this study is to examine if there is a connection between the diminishing knowledge of music theory of applicants to colleges of music, and the offering of music theory in the Swedish music and culture schools. In order to reach this goal, I conducted a survey of the prevalence of music theory among the Swedish music and culture schools, and how this is organized. I have used a questionnaire in which the principal or the teacher of music theory has responded to, and I have examined the entrance examinations (C-test) in basic theoretical knowledge and harmony from different years at The Music Academy of Ingesund. Survey responses indicate that a third of those who answered, offer music theory as its own subject. These schools can be found in both large and small municipalities, with a varied number of students. Music theory does not seem to have decreased significantly over the past nine years. Among the schools that do not offer music theory, the main reason given for this is a poor economy. But among schools who offered music theory but were forced to discontinue, the main reason given were the students' lack of interest. I have also investigated the structure of the lesson, certified teachers, integration of music theory in instrumental lessons and the marketing of the subject. In the section where I discuss the results, an explanation may be found as to why there appears to be a declining knowledge of music theory. The responses indicate that while music theory is still generally offered as before, there is a reduction in demand, which may cause the knowledge level to decrease.
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Alsayegh, Yousef A. "An investigation of the relationship between singing intonation and string playing intonation among college level and professional string players." Scholarly Commons, 2013. https://scholarlycommons.pacific.edu/uop_etds/842.
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The predominant purpose of the study was to investigate whether or not there is a relationship between singing intonation and string playing intonation among college level and professional string players in Northern California. For the purpose of this study a convenient sampling method was used to recruit participants according to their availability. Thirty college-level and professional string players from the Bay Area participated in this study (n=30). For the purpose of this study, only violin, viola and cello players have been included. The investigative variables for the study are singing intonation and string playing intonation. Intonation has been assessed. through participants' singing and playing. A computer program, called Melodyne, was used to analyze the recorded performances of the participants and determine the magnitude and direction of deviation for both played and sung pitches. The study included a 15 minute individual task after which subjects' intonation has been assessed in two dimensions: string performance intonation and singing performance intonation~ The participants were assigned an eight-measure singing excerpt adapted from the National Anthem of the United States of America, as well as another eight-measure excerpt designed specifically to assess string performance intonation. The subjects were individually audio-recorded and the audio files were analyzed using Melodyne to determine whether or not there is a relationship between singing intonation and string playing intonation. Pearson product-moment correlation coefficient has been calculated to determine the degree of relationship between singing intonation and string playing intonation of the participants.
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Goodman, Todd William. "Part I--Night of the Living Dead, the operaPart II--How Music Sounds: A Comprehensive Guide to the Grammar of Music." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501093066724373.
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Pretorius, Jacomine. "A critical evaluation of assessment practices in music literacy programmes for young adults / Jacomine Pretorius." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1403.
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Lynch, Tosca. "'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aesthetics." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4290.
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This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.
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Schatt, Matthew David. "Middle School Band Students' Motivation to Practice: An Examination of Factors That Influence Self-Determination." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1370529566.
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Jimenez, Samantha D. "An Exploration of Teaching Music to Individuals With Autism Spectrum Disorder." Antioch University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1396908032.
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Redman, David James. "Motivation of Adult, Auditioned Community Choirs: Implications toward Lifelong Learning." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6134.
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Knowledge of motivation factors can assist conductors and music educators at all levels in planning and implementation of musical goals. The purpose of this study was to identify motivational factors to join the choir and maintain membership in the choir as well as the role of stress/anxiety in maintaining choral membership. In addition, the role of musicianship was evaluated in terms of music aptitude and vocal ability. Participants (N=135) from four adult, auditioned community choirs participated in this study. Data was collected using Advanced Measures of Music Audiation, Singing Coach, measure of vocal ability and a questionnaire relating to topics of motivation, retention and stress and anxiety contained within the sub-constructs of Cusp Catastrophe Theory. The results of this study identified aesthetic motivation as the primary construct as to why members elect to join the choir. In direct relationship to this motivation, lack of aesthetic beauty and truth was identified as why members would not retain their membership in the choir. Members did not experience stress and anxiety while learning or performing choral music. However, they did agree that some level of stress is beneficial to singing. In this study, no participant suggested that stress and anxiety related to vocal ability would prevent them from achieving their performance goal. Implications from this research may include determining program literature to be presented that is perceived as having aesthetic qualities which will be beneficial for membership and retention of choir members.
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Zimmerman, Nilsson Marie-Helene. "Musiklärares val av undervisningsinnehåll : En studie om undervisning i ensemble och gehörs- och musiklära inom gymnasieskolan." Doctoral thesis, Göteborgs universitet, Högskolan för scen och musik, Göteborg, Sverige, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-20289.
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The way in which music teachers choose and use the subject content in ensemble and music theory in the upper secondary school is focused in this study. The point of interest is the everyday classroom teaching of music teachers. The intentions that music teachers have with their teaching is also studied. This thesis is a study of music teaching and is a subject-didactic investigation, inspired by variation theory. The overarching aim of the thesis is to study how music teachers in upper secondary school choose teaching content when teaching ensemble and music theory. The teachers’ use of the teaching content implies that they choose to focus and teach certain parts in their teaching. This choice of con- tent and how it is used is in focus in this study. The research questions are: How do music teachers choose teaching content when teaching ensemble and music theory in upper secondary school? How do music teachers use the teaching con- tent in their teaching? The data collection includes video-documented lessons and qualitative inter- views with five music teachers in upper secondary school in 2004. The analysis reveals two different choices of content. When the teachers have music and theory as the content of their teaching, it is the content that guides the teaching methods, where the teacher uses a fixed content, which is then presented in different ways; this was mainly in music theory. When the content is music activities, the music teachers adjust the activity-based content in accordance with the level of the pupils’ skills in ensemble. The differences that occur in the varia- tion theory results are closely related to the teaching content. The foundations of the two different choices of content that are made by the music teachers, as well as the significance of the learning objects, are finally discussed.
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Simonis, Joan M. A. "Relationship Between Music Educators' Ethical Awareness and Students' Sense of Belonging and Academic Achievement." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245351549.
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Sullivan, John P. "Emergent Learning: Three Learning Communities as Complex Adaptive Systems." Thesis, Boston College, 2009. http://hdl.handle.net/2345/663.
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Thesis advisor: Patrick J. McQuillanIn the 2007-2008 school year, the author conducted a collaborative case study (Stake, 2000) with the goal of discovering and describing "emergent learning" in three high school classrooms. Emergent learning, defined as the acquisition of new knowledge by an entire group when no individual member of the group possessed it before, is implied by the work of many theorists working on an educational analog of a natural phenomenon called a complex adaptive system. Complex adaptive systems are well networked collectives of agents that are non-linear, bounded and synergistic. The author theorized that classes that maximized the features of complex adaptive systems could produce emergent learning (a form of synergy), and that there was a continuum of this complexity, producing a related continuum of emergence. After observing a co-curricular jazz group, an English class, and a geometry class for most of one academic year, collecting artifacts and interviewing three students and a teacher from each class, the author determined that there was indeed a continuum of complexity. He found that the actively complex nature of the Jazz Rock Ensemble produced an environment where emergence was the norm, with the ensemble producing works of music, new to the world, with each performance. The English section harnessed the chaotic tendencies of students to optimize cognitive dissonance and frequently produce emergent learning, while the mathematics section approached the learning process in a way that was too rigidly linear to allow detectable emergence to occur
Thesis (PhD) — Boston College, 2009
Submitted to: Boston College. Lynch School of Education
Discipline: Teacher Education, Special Education, Curriculum and Instruction
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Marika, Wirung. "Musik i kubik : En kvantitativ enkät studie om var gymnasieelever som spelar ett symfoniorkester instrument skaffat sig sin musikaliska utbildning, innan de väljer estetiska programmet och läser kursen Instrument eller sång på gymnasiet." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-181607.
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This essay examines where students gain their knowledge of exercising a musical instrument before they choose aesthetic focus of music in high school, on an instrument used in today’s symphony orchestras. In elementary school curriculum there is no room for students to learn to play an orchestra instrument, you have to obtain your music lessons outside compulsory school. Despite this, there is a vocational training in music in high school where you get individual teaching on your musical instrument, the course Instrument or song. This can be understood through curriculum theory. I used a quantitative method. The empirical data is based on a survey. All students in this survey have received their education outside primary school. 73% of the students have received their education through the cultural school. 50% of the students that play a string instrument had taken Suzuki education and started their education in preschool age. The knowledge legitimized through the formulations of curriculums are political decisions that are about what the state believes citizens should be able to perform to develop a well functioning society. As long as the teaching is not free and does not fall under Swedish National Agency for Education's regulations, all children do not have the same opportunities for learning to play a music instrument. This becomes a social ethical problem when it comes to the accessibility for everyone to play a musical instrument and perhaps especially an orchestra instrument.
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Renwick, James Michael English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Because I love playing my instrument : Young musicians' internalised motivation and self-regulated practising behaviour." Publisher:University of New South Wales. English, Media, & Performing Arts, 2008. http://handle.unsw.edu.au/1959.4/40823.
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Self-regulated learning theory explains how it is not only the amount of time musicians spend practising that affects achievement, but also the nature of the strategies employed. Because practice is self-directed, motivational effects on its efficiency are especially salient. One construct that has received little attention in relation to practising is self-determination theory, which interprets motivation as lying along a continuum of perceived autonomy. This mixed-methods study investigated links between motivational beliefs and self-regulated practising behaviour through a two-phase design. In Phase One, 677 music examination candidates aged 8-19 completed a questionnaire consisting of items addressing practising behaviour and perceived musical competence; in addition, the Self-Regulation Questionnaire (SRQ; Ryan & Connell, 1989) was adapted to explore intrinsic-extrinsic motives for learning an instrument. Factor analysis of the SRQ revealed five dimensions with partial correspondence to earlier research: internal, external, social, shame-related, and exam-related motives. Three practice behaviour factors consistent with self-regulated learning theory emerged: effort management, monitoring, and strategy use. Results of structural equation modelling showed that internal motivation accounted best for variance in these three types of practising behaviour, with a small added effect from competence beliefs and exam-related motivation. Phase Two consisted of observational case studies of four of the questionnaire participants preparing for their subsequent annual examination. Adolescent, intermediate-level musicians were recorded while practising at home; immediately afterwards, they watched the videotape and verbalised any recollected thoughts. The procedure concluded with a semi-structured interview and debriefing. The videotapes were analysed with The Observer Video-Pro and combined with verbal data; emerging themes were then compared with issues arising from the interviews. The observational aspect of the case studies largely confirmed the importance of three cyclical self-regulatory processes emerging from Phase One: (a) effort management and motivational self-regulation, (b) the role of self-monitoring of accuracy, and (c) the use of corrective strategies, such as structured repetition, task simplification, and vocalisation. The mixture of quantitative and qualitative methods used in the study has uncovered a rich body of information that begins to clarify the complex motivational and behavioural nature of young people practising a musical instrument.
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Pagán, Joel E. "Behavioral, Affective, and Cognitive Engagement of High School Music Students: Relation to Academic Achievement and Ensemble Performance Ratings." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7347.
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The purpose of the study was to determine the relation between student engagement, academic achievement, and music ensemble performance ratings. The study was guided by two research questions: how do students’ varying degrees of student engagement relate to their academic achievement and their ensemble’s performance rating, and to what extent do behavioral, affective, and cognitive engagement predict ensemble performance ratings? Participants were 259 high school band students who completed the Classroom Engagement Inventory in Music. They were also asked to report their GPA, and the researcher recorded their ensemble’s performance rating. Results suggested that higher levels of student engagement were associated with higher levels of ensemble performance ratings (superior and excellent versus good), with a clear demarcation found between lower rated and higher rated ensembles. Although no significant correlation was found between academic achievement and student engagement, affective engagement was found to predict overall music performance outcomes.
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Prantl, Daniel. "Talking about music lessons: implicit and explicit categories of comparison." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34629.
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This chapter presents a grounded-theory-oriented analysis of central discussions of the ICMLV symposium which tries to clarify which tertia comparationis the participants referred upon. In total, nine implicitly and seven explicitly used T.C. are presented. An additional analysis yields that a meaning-oriented understanding of culture was in majority used throughout the symposium.