Dissertations / Theses on the topic 'Music instruction and study'
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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.
Full textKertz, Marjorie I. "A gift of music." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/766.
Full textHAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.
Full textMcMillan, James F. "The curricular dysfunction between the administration of instrumental music and suitability of teaching materials in English secondary schools /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65402.
Full textMontocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.
Full textMondia, Nunzio. "The effect of a pop/rock music repertoire on the music achievement and preferences of lower secondary school students." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1994. https://ro.ecu.edu.au/theses/1102.
Full textGlover, Richard. "Music of sustained tones." Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/9612/.
Full textZwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.
Full textNewton, Mark Brian. "A remote interactive music keyboard tuition system." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1004860.
Full textSzabo, Moira. "An assessment of music teacher effectiveness : a comparison between generalists and specialists." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61772.
Full textMay, Bruce D. "Music helps me live inside my head : a longitudinal ethnographic case study of a group of senior high school music students." Thesis, Queensland University of Technology, 2003.
Find full textAllen, Thomas Orrin. "Components of instruction in general music and piano in selected educational settings in Buenos Aires, Argentina." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833669.
Full textSchool of Music
Ferris, Alison Jill 1949. "Classroom music in Victorian state primary schools 1934 to 1981 : curriculum support." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8472.
Full textCarney, Robert D. "Using Web-Based Instruction to Teach Music Theory in the Piano Studio: Defining, Designing, and Implementing an Integrative Approach." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28404/.
Full textKirsch, Simone Hillary. "Psychological aspects of one-on-one instrumental teaching at the tertiary level." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17372.
Full textENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these.
AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.
Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.
Full textFindings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.
Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.
Birkby, Peter R. "A twenty-first century light music composer : sailing on : composing light music in the twenty-first century." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31097/.
Full textPascoe, Beverley. "The influence of primary school music programmes on student choice of music studies in lower secondary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.
Full textCornacchio, Rachel Ann. "Effect of cooperative learning on music composition, interactions, and acceptance in elementary school music classrooms." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8156.
Full textTypescript. Includes vita and abstract. Includes bibliographical references (leaves 60-67). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
Jones, Jason David. "Elementary music teacher perception and instruction of subdivision| A mixed methods study." Thesis, The University of Texas at San Antonio, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10151305.
Full textThe purpose of this mixed methods study was to explore elementary music teacher perspectives of subdivision and its instructional value in the general music classroom. This study aims to answer the questions: (a) How does the perceived definition of subdivision influence instruction? (b) How do elementary music teachers relate subdivision to other concepts? (e) How does training and professional development influence teacher perception? Elementary general music teachers (N=26) from an inner-city Title 1 school district in Central Texas participated in a descriptive survey. Results indicated that while participants explained that important relationship between subdivision and other concepts and marked it as extremely significant (88%), they ranked it seventh out of eight and allotted less than five minutes for instruction during lessons. In addition, the greatest influence on teacher perception of subdivision was the amount of training in Dalcroze Eurhythmics, Kodály and Orff Schulwerk, While Kodály teachers primarily related subdivision to rhythm, and thought that it was too complicated for young students, Orff and Dalcroze teachers were more likely to teach it in every concept. This study along with previously conducted studies suggest that elementary music teachers believe that subdivision aids in student learning. However, elementary music teachers appear to be hesitant to utilize subdivision during instruction.
Walsh, Brenda 1956. "The effects of an alternative instrumental music program on elementary school children." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35225.
Full textThis study investigates the effects of an Alternative Instrumental Music Program on grade three children, at an elementary school situated on the West Island of Montreal, Quebec. One of the two classes involved in the Study (Experimental Group) participated in an alternative instrumental music program and its applications; the other class (Control Group) followed a traditional music program. Each class consisted of twenty-eight students. Quantitative and qualitative data were collected from both groups of students, homeroom teachers, and parents over a period of ten consecutive weeks.
The findings revealed that the children in the Experimental Group enjoyed learning music in school more than those in the Control Group. The Experimental Group also indicated a greater increase in the enjoyment of activities experienced during music class than those in the Control Group. Moreover, there was a higher increase of musical knowledge in the Experimental Group.
The author suggests that further research on the effects of alternative music programs on elementary school children would be beneficial to the educational community.
Irwin, Mark Stewart. "Teaching the way we learnt : a study in popular music education." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/59666/.
Full textChan, Edmund Sze Shing. "Music teachers' concern of inclusive music teaching scale: development, validation and correlates." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/308.
Full textThomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.
Full textWang, Miao, and 王苗. "Professional autonomy of music teachers in China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45595847.
Full textLukianenko, Sofia. "A critical reflection on teaching and learning music in the context of technological change /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21235.
Full textHendrikse, Salóme. "'n Interdissiplinêre benadering tot die klasmusiekonderwys in Suid-Afrika." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002305.
Full textLorenzino, 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.
Full textAnderson, Elizabeth L. "Materials, meaning and metaphor : unveiling spatio-temporal pertinences in acousmatic music." Thesis, City University London, 2011. http://openaccess.city.ac.uk/3530/.
Full textHenn, Wilana. "Aanvangsonderrig in klavier : ‘n situasie-analise en riglyne vir ondergekwalifiseerde musiekonderwysers in die Suid-Afrikaanse konteks." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2997.
Full textThe piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.
Mufute, Josphat. "The training of the non-specialist music teacher in Zimbabwe : a case study." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/565.
Full textMefford, Rebecca Dunn. "Integrating music into the second grade curriculum." CSUSB ScholarWorks, 1995. https://scholarworks.lib.csusb.edu/etd-project/1065.
Full textLai, Lingchun. "Taiwan music teacher attitudes toward the arts and humanities curriculum." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3951/.
Full textFreed, Carlin Joi Lynn. "Can you think a little louder?, a classroom-based ethnography of eight and nine year olds composing with music and language." Thesis, National Library of Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq27143.pdf.
Full textSchutte, Charla Helena. "n Kritiese evaluering van die sertifikaatprogram in musiek by die Universiteit Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52957.
Full textThesis (MMus)--Stellenbosch University, 2014.
AFRIKAANSE OPSOMMING: In Suid-Afrika, soos in alle ander lande, is daar musiekliefhebbers en kunstenaars met beperkte of geen musiekopleiding nie. Sommige van hulle het dikwels net In basiese musiekkennis en het heel waarskynlik nooit die geleentheid gehad om hulle kennis met eksterne insette te verbreed nie. Dit is juis teen hierdie agtergrond dat daar al vir 'n geruime tyd 'n behoefte bestaan om die nodige opleiding en onderrig aan persone te bied wat weens omstandighede buite hulle beheer (histories of andersins) nie formele musiekonderrig van watter aard ookal, kon ontvang nie. By die Konservatorium (Universiteit Stellenbosch) word daar twee oorbruggingskursusse, oftewel 'n Sertifikaatprogram, aangebied. Die teikengroep bestaan hoofsaaklik uit (i) mense wat na hulle gemeenskappe kan terugkeer om hulle nuutgevonde kennis toe te pas en/of (ii) voornemende musici wat graag vir die BMus-program wil inskryf nadat hulle die minimum tydperk van die Sertifikaatprogram suksesvol voltooi het. Die doel met hierdie studie was om te bepaal of die tweede Sertifikaat van die Sertifikaatprogram se huidige (i) kurrikulum en (ii) standaard 'n student in staat stelom aan die toelatingsvereistes van die BMus-program te voldoen en die kursus suksesvol te voltooi. Om die doel te verwesenlik, is kwalitatiewe navorsingsmetodes (byvoorbeeld literatuurstudie en waarneming) gebruik om die spesifieke inhoud wat in die Sertifikaatprogram benodig word, te ondersoek. Daar is gevind dat aspekte van die Elliott-model toegepas kan word op sertifikaatinhoude. Die navorser kon as waarnemer en dosent deur middel van klasbywoning en -aanbieding eerstehands bepaal of die kurrikulum wat op skrif gestel is, in die praktyk uitvoerbaar was. Empiriese inligting oor die betrokke kursus is deur middel van die opname prosedure en die gestruktureerde vraelys tegniek bekom. In Evalueringsvraelys oor kursusmodules wat oor 'n tydperk van twee jaar aangebied is, is ingevul deur sertifikaatstudente. Onderhoude is met BMus I dosente gevoer om te bepaal watter minimum standaard na hulle mening aanvaarbaar is wanneer 'n student vir die BMus-program inskryf. Deur middel van literatuurstudie is daar ook na eksterne faktore gekyk wat In invloed op die vordering van studente in die Sertifikaatprogram kon hê. Die hantering van aspekte soos motivering, onderrigtegniek en -benaderings wat suksesvolle volwasse onderrig sal verseker, eienskappe van volwasse leerders en die implikasies daarvan vir volwasse onderrig is binne die konteks van die Universiteit Stellenbosch se Sertifikaatprogram bespreek. Deel van die oogmerke van hierdie navorsing was ook om die moontlikheid van aanlegtoetse te ondersoek, omdat tans geen aanlegtoets afgelê word by die Departement Musiek nie. Verskeie bestaande aanlegtoetse is vir die doel bestudeer en die Advanced Measures of Music Audiation van E. Gordon is deur die navorser as die mees geskikte vir die doel van hierdie studie beskou. In die geheel het hierdie studie getoon dat die Sertifikaatprogram by die Departement Musiek, Universiteit Stellenbosch, baie potensiaal het, maar dat daar egter deeglik ondersoek ingestel moet word na die kurrikuluminhoude om sodoende die huidige standaard op
ENGLISH ABSTRACT: In South Africa, similar to all other countries, there are music lovers and artists with limited or no training in music. Some of them often only have a basic knowledge of music and probably never had the opportunity to broaden their knowledge with external inputs. It is against this background that the need exists to provide the necessary training and tuition for these persons who, due to circumstances beyond their control (historical or other), could not receive any formal music tuition whatsoever. The Department of Music (Stellenbosch University) offers two bridging courses, namely the Certificate programme. The target group consists mainly of (i) people who can return to their communities to apply their newly acquired knowledge and/or (ii) prospective musicians who would like to enrol for the BMus programme, after successfully completing the minimum period. The purpose of this study was to determine whether the second Certificate of the Certificate programme's current (i) curriculum, and (ii) standard, will make it possible for a student to meet the requirements for enrolment in the BMus programme and to complete the course successfully. To realise the objective, qualitative research methods (for example literature study and observation) have been employed to investigate the specific contents required in the Certificate programme. The researcher could, as observer and lecturer, by means of attending lectures and lecturing, determine first hand whether the curriculum which had been compiled, was viable in practice. The researcher obtained empirical data regarding the course in question by means of the survey procedure and structured questionnaire method. A questionnaire comprising the evaluation of course modules presented over a period of two years, was completed by certificate students. Questionnaires have been completed by BMus I lecturers to determine amongst other things, in their opinion, whether the minimum standard would be acceptable when a student enrols for the BMus programme. By means of literature studies, external factors which could influence the progress of students in the Certificate programme, have also been examined. The handling of aspects such as motivation, tuition techniques and approach, which wil ensure successful adult tuition, characteristics of adult learners and the implications thereof for adult tuition, have been discussed within the context of Stellenbosch University's Certificate programme. Part of the objectives of this research was to investigate the applicability of aptitude tests, because no aptitude test is required at the Department of Music at present. Various existing aptitude tests have been examined and the author has deemed the Advanced Measures of Music Audiation by E. Gordon as most suitable for this purpose. In its entirety this study has shown that the Certificate Programme of the Department of Music, Stellenbosch University has much potential, but, that thorough investigation should be initiated into curriculum contents to elevate the existing standard, in order that the link of the second Certificate with the BMus programme can be trouble-free.
Beer, Luzaan. "Music education in the foundation phase." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.
Full textLee, Angela Hao-Chun 1963. "The development of school music education in Taiwan (1895-1995)." Monash University, Faculty of Education, 2002. http://arrow.monash.edu.au/hdl/1959.1/8696.
Full textErwin, Joanne (Joanne Hall). "Stability of Secondary String Teachers' Rehearsal Behavior." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332546/.
Full textDamm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.
Full textCloete, Erna Petronella. "Assisting in-service grade R teachers to nurture the holistic development of the five to seven year old child through music : a participatory approach." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021177.
Full textEtters, Stephen Campbell. "Effects of visual performance presentations on student perceptions of the elements of music." Diss., Virginia Tech, 1994. http://hdl.handle.net/10919/39133.
Full textEd. D.
Kudirka, Joseph. "Extending the invitation : composing notated experimental music for performance." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/17533/.
Full textLadd, Michael J. "An interactive CD-ROM for the instruction of 'classic' sound synthesis methodologies." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1210534.
Full textPrusky, Kathy Ann. "Developmental preschool music education : a proposed rationale, philosophy and 12-week curriculum for 4-year-old children." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/29053.
Full textEducation, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
Sanyshyn, James Evan. "The role of Canadian music in the preparation of music specialists in British Columbia /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30213.
Full textRichmond, Floyd. "Tools, guidelines, and strategies for the development of computer-assisted-instruction lessons by non-programming music teachers." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902513.
Full textSchool of Music
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.
Full textForster, Raymond. "An investigation into a cohesive method of teaching jazz harmony and improvisation to elective music students in secondary schools using the basic principals of chord-scale theory." Thesis, The University of Sydney, 2010. http://hdl.handle.net/2123/7284.
Full textMacfarlane, Clare J. "The effect of verbal discussion on musical expressiveness." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2268.
Full textLeavell, Brian K. ""Making the Change": Middle School Band Students' Perspectives on the Learning of Musical-Technical Skills in Jazz Performance." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277968/.
Full text