Dissertations / Theses: 'Music skills'

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Kurtz, Jaclyn. "An Aural Skills Handbook for Modal Music." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1406587993.

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DiGiammarino, Marie Morreau Lanny E. "Functional music skills of persons with mental retardation." Normal, Ill. Illinois State University, 1989. http://wwwlib.umi.com/cr/ilstu/fullcit?p9014745.

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Thesis (Ed. D.)--Illinois State University, 1989.
Title from title page screen, viewed October 21, 2005. Dissertation Committee: Lanny Morreau (chair), Ming-Gon Lian, Mack Bowen, Ramesh Chaudhari, Alan Repp. Includes bibliographical references (leaves 107-112) and abstract. Also available in print.

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Lenertz, Michele Lynn. "Music as a tool to strengthen reading skills." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2073.

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This project focused on the rate of growth in reading skills of two first grade classrooms. The goal of this project was to improve the reading skills of below grade level students through musical activities.

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Peiseniece, Mara. "Accordion in Action : How to develop my artistic skills applying theatrical choreography with accordion to a performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2515.

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Buyer, Paul Lorin. "Marching percussion arrangements for the enhancement of essential performance skills." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/284649.

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The intent of this study is to examine a wide variety of marching percussion arrangements and to evaluate the extent to which these arrangements foster the development of essential performance skills, specifically timing, reading, technique, and musicianship. My evaluation will be based on five original criteria derived from the pedagogical literature, selected repertoire, and my personal teaching experience. These criteria can be used to evaluate the overall quality and musicality of these arrangements and assure that the development of essential performance skills is addressed in the marching percussion ensemble. Arrangements for beginning, intermediate, and advanced ensembles will be evaluated. This study will not present a method on marching percussion techniques and will not deal in depth with the front sideline pit ensemble. It will focus on the percussion battery arrangements and to what extent they facilitate the development of essential performance skills. The critical need for this study is demonstrated by the excessive number of published marching percussion arrangements that do not properly address the development of essential performance skills, nor meet the stated criteria. Students who experience music performance through these arrangements experience learning that is counterproductive and are deprived of powerful, meaningful, and stimulating musical experiences. It is my hope that this document will make a valuable contribution to the profession by strongly developing an awareness of quality marching percussion arrangements, as well as promoting through this awareness more quality marching percussion arrangements based on the criteria. Further advocacy of the criteria and essential performance skills will be achieved by presenting clinics, raising awareness in college percussion method courses, publishing articles, web page dialogues, and publishing companies hiring better arrangers.

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Clark, Terry William. "Mental skills in music : investigating use, ability, and training." Thesis, Royal College of Music, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576934.

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Lee, Shannon. "An investigation of the effects of visual diagnostic skills development on the instruction and acquisition of basic conducting skills for beginning conductors." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392715405.

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Lu, Daisy Tan. "The effects of teaching music skills on the development of reading skills among first graders : an experimental study /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/7929.

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Theron, Talita. "Music therapy in South Africa music therapists' perceptions of training needs for current practice /." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.

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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.

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Chan, Liz May Yin. "The use of ICT to support practical skills in music." Thesis, Open University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434238.

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Barron-Johnson, Tamara. "Using Music in Teaching Social Skills to Mentally Retarded Subjects." DigitalCommons@USU, 1987. https://digitalcommons.usu.edu/etd/6199.

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The purpose of this study was to determine the extent to which Melodies to Assist Social Interaction (MASI) would affect the social skills performance of the educable mentally retarded. The study employed a pretest-posttest control group design with an N of 27 mentally-retarded subjects. It also employed a one-group pretest-posttest design with an N of 8 non-mentally retarded subjects. All of the subjects received a pre- and post-score for their social skills performance level. Nineteen of the mentally-retarded subjects and all eight non-mentally retarded subjects received the MASI social skills teaching program as part of their regular curriculum. The pre- and post-treatment performance was analyzed by a correlated means t-test. An analysis of covariance was used in which the posttest means were compared using the pretest means as a covariate. It was concluded that MASI did not have an impact, positive or negative, on the social skills performance level of the subjects.

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Petty, Robert Allen. "Evaluation of Procedures to Develop Selected Choral Rehearsal Skills with Undergraduate Choral Methods Students." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384513025.

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Hakvoort, Laurien G. "Piano-improvisation skills of musicians versus non-musicians : implications for music therapy." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2265.

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The purpose of this study was to examine the improvisation skills of musicians and non-musicians. Fifteen musicians and 13 non-musicians completed a pre- and post-performance questionnaire and played a free improvisation on the piano. The free improvisations were rated by three independent observers using the Music Improvisation Rating scale, and the responses on the questionnaires were tabulated. Results showed no difference between musicians and non-musicians for duration, expectation, self-reported interaction and satisfaction. There was, however, a statistically significant difference for judged interactions between the two groups. This may suggest that a client should not be excluded from music therapy because of lack of musical skills. The therapeutic and musical interactions, however, have to be handled and interpreted differently by the therapist. Working with musically skilled clients may require different interventions from working with musically naive clients.

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Hartz, Barry C. "Cultivating Individual Musicianship and Ensemble Performance Through Notation-Free Learning in Three High School Band Programs." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1435244359.

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Walton, David Brian 1964. "Music for steel band: An examination of the various styles which develop specific performance skills." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282162.

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The steel band is one of the fastest growing ensembles in university and college settings. There are many types of steel bands and several different approaches to how the ensemble is taught, the styles of music that are taught and the reasons why those styles of music are presented. This document is directed toward instructors and students at institutions that have or intend to have a steel band as a regular rehearsing and performing ensemble. This research work will assist in understanding the styles of steel band music, the various methods by which those styles may be taught and what music performance skills will be exercised and developed by the styles and different presentations. The history of the steel band in Trinidad and the United States will be dealt with briefly. Latter portions of the document discuss the music performance skills that are exercised and developed by steel band experience, the different styles of music that a steel band rehearses and performs, the methods of music presentation possible within a steel band and the different performance skills that each type of presentation will favor. Also included are a glossary of steel band terms and a selected discography of exemplary steel band recordings.

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Platt, Kelsey Elyse. "Developing metacognitive and self-regulated learning skills through reflective writing prompts." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3164.

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Effective practice determines the quality of a performance and it is essential to improving a musician's overall level of playing. Studies show that experts in the field of music display superior metacognitive skills, or the ability to think about one's thinking. Metacognition is an important skill that needs to be developed in order for a student to become a self-regulated, or independent learner. Effective practice can be improved by learning and developing metacognitive and self-regulated learning skills. An important component of self-regulated learning is reflective thinking. Reflective thinking is a mental process that contributes to deeper learning experiences, improves problem solving skills, and enhances creativity. Reflective thinking can be stimulated with writing activities. Research and theories of reflective practices informed the creation of the Reflective Writing Prompts. The Reflective Writing Prompts stimulate reflective thinking as they teach and develop metacognitive and self-regulated learning skills to make practice more effective. Each exercise prompts the student to think and write a response to questions focused on a specific skill. These prompts are based on research in music psychology and reflective thinking, with special focus on metacognition, self-regulated learning, practice habits, and reflective journaling. The pertinent studies and theories in these areas will be examined and explained in relation to each other. With this foundational knowledge in place, the Reflective Writing Prompts will be presented. The prompts are designed to support first or second year music students in their development as independent learners who practice effectively.

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Fjordevik, Johanna. "Musik och kunskapsskillnader : En studie om musiklärares upplevelser kring kunskapsskillnader inom musiken." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24222.

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ABSTRACT Music and differences in knowledge – a study of music teachers experiences with differences in musical knowledge. The purpose of this paper is to, out of a music teacher’s perspective, see if the differences in music abilities between 7th grade students are at all, or in some ways connected to the previous schools they’ve attended. I will also research in what areas, in the subject of music, students are differing more, as well as less, in their knowledge. The analysis is based on interviews with six 7th grade music teachers working in the Swedish nine-year compulsory school system. According to the teachers, the result of these interviews show that students do come from different music teaching backgrounds that can affect their skills in the subject. These teachers argue that students own music interest along with practicing in their free time, the pedagogues and access to material are all important components to why students differ in their music skills. According to the teachers, there is more of a difference in knowledge among the students when it comes to digital tools and ensemble playing and less of a difference when it comes to singing.

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Chang, Tiffany Hsu Han. "An examination of conductors’ leadership skills." Oberlin College Masters Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=obgrad1272475425.

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Pece, Peter A. "The effects of brain trauma on the memory skills of musicians." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/10723.

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The localization of function in terms of music processing in the brain has fascinated researchers in many disciplines for well over one hundred years. Is there a central location for this specialized and complex process or does it involve many different areas of the brain? Some researchers have thought that the processing of language and music are analogous, but does the processing of music occur in the same way as language (Damasio and Damasio, 1977), (Zatorre, 1984)? In recent years the use of non-invasive imaging techniques such as the PET scan (Positron Emission Tomography) and MRI (Magnetic Resonance Imaging) have proven to be most accurate in the demonstration of brain activity (Vollmer-Haase et aI., 1998) and have led researchers to agree that there is not a specific anatomical centre for music in the brain (Baeck, 2002), (Peretz, 2002). This thesis will examine in what way and to what degree various types of Traumatic Brain Injury in musicians affect music memory. A pilot study was conducted with musicians who have not experienced brain trauma. These musicians were asked to complete a questionnaire and then were interviewed in order to understand the process with which they utilize their musical memory. Six brain-injured musicians were also interviewed in the same manner. When possible, medical records were solicited and reviewed as a means of ascertaining specifics regarding the trauma. Using then, a qualitative framework in a case study format, the questionnaire and the focused interviews will provide the data (London, 1982), (Psathas, 1972). This format will provide a perspective that has been neglected in many studies in Neuromusicology, that of allowing the musicians to speak for themselves. The interviews are a study of the personal reflections of the musicians who are commenting on their understanding of their own experiences of musical memory. While my interest does lie in the clinical evidence provided by researchers in the field of Neuromusicology and their insights into musical memory, there has not been any extensive work written which concerns itself with the personal experiences of musicians and their subjective interpretation of these memorization processes. The balance between the clinical evidence needs to be contrasted with the subjective elements of a person's self-perception and understanding. It is my aim in this study to explore these perceptions in the context of real life situations. It should also be noted that the observations made are a reflection of the subject's personal experiences and their subjective view of these experiences.

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McNeil, Alison Fiona. "Aural skills and the performing musician : function, training and assessment." Thesis, University of Huddersfield, 2000. http://eprints.hud.ac.uk/id/eprint/4749/.

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Adams, Brandon. "The knowledge, skills and competency requirements for music librarians in academic music libraries in the Western Cape, South Africa." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/26881.

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The objective of this study was to determine the knowledge, skills and competencies required for music librarians in academic music libraries in the Western Cape of South Africa, in order for these libraries to effectively serve their scholarly communities. In addressing this objective, the following research questions were generated: What are user expectations of academic music library services in the Western Cape?; To what extent are these expectations currently being met?; and, What are the knowledge, skills and competency requirements for music librarians in academic libraries in the Western Cape of South Africa? The study was supported generally by Core competency theory and more specifically by the Music Library Association (MLA) core competencies for music librarians. The study's research approach was qualitative and exploratory, incorporating a multiple case study design. Empirical data were collected via semi-structured interviews and focus group discussions with purposively sampled music librarians, academics and postgraduate students at the two higher education institutions in the Western Cape, Stellenbosch University and the University of Cape Town. Both these universities have music departments and music libraries. The data collected were analysed using thematic content analysis from recorded interviews and focus group discussions. The study's conclusions are centered on the main findings and discussion in the context of the reviewed literature and the theory supporting the study. It presents, based on the findings, knowledge, skills and competencies required to professionally and confidently serve the music library's scholarly community. While the study is empirically grounded in the music library and university environment in the Western Cape of South Africa, it has both practice and theoretical relevance to the broader world of music librarianship. The findings of this study to a large extent concur with the MLA core competency framework for music librarians but also updates it in terms of the modern digital information environment as well as a transformative society sensitive to cultural contextuality. It recommends to the music librarianship practice environment and contributes to the existing body of knowledge on competencies for music librarianship, an adjusted and extended MLA core competency framework (Hunter, 2002) which it hopes will be basis for further practice and research in the area of music librarianship.

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Hornstein, Daniel L. (Daniel Lather). "Relationships Between Selected Musical Aural Discrimination Skills and a Multivariate Measure of Intellectual Skills." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331803/.

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This study attempted to explore the strength and nature of relationships between specific intellectual information processing skills included in a multi-dimensional model conceived by Guilford, and measured by Meeker's Structure of Intellect - Learning Abilities Test, and specific musical aural discrimination skills as measured by Gordon's Musical Aptitude Profile. Three research questions were posed, which involved determining the strength and the nature of the relationship between MAP melodic, rhythmic, and aesthetic discrimination abilities and the intellectual information processing skills comprising the SOI - LA. Both instruments were administered to 387 fourth, fifth, and sixth graders from schools in the Dallas area. After a pilot study established the feasibility of the study and reliability estimates of the test instruments, multiple regression analysis determined that 10% to 15% of the variance between intellectual information-processing skills and the individual musical aural discrimination abilities was in common (r = +.32 to r = +.39). It was further determined that only six specific SOI intellectual dimensions, all involving the skills of "Cognition" and "Evaluation", were significantly related to the musical aural discrimination abilities. Through the use of the Coefficient of Partial Correlation, the strength of each individual information-processing skill's unique contribution to that covariance was determined. The study indicated that "Semantic" mental information processing skills, involving the ability to recall an abstract meaning or procedure given an external stimulus, play an extremely important part within this relationship. Skills of a "Figural" nature, which involve comprehending either a physical object or an non-physical idea and separating it from other impinging stimuli also enter into the relationship, although not to so high an extent. Finally, it was observed that the dimensions involving an understanding of "Systems", those mental skills which deal with groupings of figures, symbols, or semantic relationships, also was important to the relationship.

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Murrow, Rodney C. "Music theory textbooks in the United States, 1941-1992 : philosophical trends in written skills /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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Doerksen, Paul Frederic. "A study of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487850665557913.

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Henningsson, Denise. "Play that funky music." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35582.

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Musik är en väsentlig del i identitetsskapandet för barn och unga världen över. Genom globaliseringen har musik, klädstilar och dylika centrala delar i uppbyggandet av jaget spridits världen över och kombinerats och inspirerats av varandra (Sernhede, 2006). Identitetsskapandet är en betydande del i huruvida ett aktivt medborgarskap tar form eller inte hos olika individer och grupper. Därav är identitetsskapandet en väsentlig del att bejaka vid undervisningen av medborgerlig bildning. Medborgare refererar till en person som reagerar på sin omgivning med medvetenhet om de sociala och politiska funktionerna i samhället (Hartsmar et al, 2013). Vad en medborgerlig bildning specifikt består av beror på vilka system, traditioner och värden som är förekommande där bildningen genomförs. Likheten med all medborgerlig bildning är att det syftar till en bildning som har målet att stärka medborgarnas förmåga att påverka samhällsutvecklingen positivt (ibid.)Ovanstående resonemang har lett mig till frågeställningarna "Hur används musik i skolor i Tanzania?", "Hur uttrycker sig lärare och elever gällande betydelsen av musikutbildning utifrån ett individ- och ett kollektivt perspektiv?" samt "Hur kan läroplanen appliceras på medborgerlig bildning för demokrati?". Anledningen till att just tanzaniska skolor står i fokus är det faktum att Tanzanias läroplan har ett ämne kallat vocational skills, där 12 ämnen ingår. Musik är ett av ämnena inom vocational skills som till störst del står för den medborgerliga bildningen i skolan. Enligt den svenska läroplanen ska medborgerlig bildning vara en del av samtliga ämnen, men skillnaden är att den tanzaniska läroplanen beskriver något mer specifikt hur det ska gå till - i synnerhet när det gäller musikundervisningen. Jag ansåg därför att det kunde vara intressant att undersöka musikens koppling till medborgerlig bildning i skolor i Tanzania. Detta har jag gjort genom en kvalitativ studie innehållande 15 intervjuer, varav tre personer var lärare och resterande elever i åldrarna 12 -14 år. Det visade sig i mitt resultat att musik ansågs vara en viktig del av identitetsskapandet och det framtida medborgarskapet, men även att detta är en möjlig väg för medborgerlig bildning, bland många andra.

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Van, Hook Colin. "The Relationship Between Instrumental Music Training and Corpus Callosum Growth." Thesis, Boston College, 2004. http://hdl.handle.net/2345/467.

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Thesis advisor: Ellen Winner
Recent studies have shown differences between several structures in the brains of professional level musicians and non-musicians. Professional musicians form an ideal group to study changes in the human brain due to the unique abilities required of them. Since many musicians begin training at a young age, it is assumed that these differences are attributable to intense, early experience brought on by the cognitive and motor demands of music training. However, it remains to be seen whether these structural differences are due to changes brought on by experience or preexisting ones which draw children to music lessons. Using magnetic resonance images, I compared the size of the corpus callosums in two groups of children who ranged between the ages of five and seven, one just beginning music lessons and another not beginning music lessons. I also compared the groups in terms of their performance on a finger tapping test for differences in speed and accuracy. A second set of comparisons of callosal size was conducted between nine-to-eleven-year-olds who had been taking music lessons for at least a year and those who had not. Differences in the five-to-seven-year-olds were seen in the anterior corpus callosum corrected for brain volume between the musician and non-musician groups. Differences in accuracy of finger tapping were seen between the musicians and non musicians, as well as between those in the musician group who had received less than sixteen or twenty-five weeks of training versus those who had received less. These findings indicate that while musicians start out with at least one slightly larger measure of corpus callosum size, differences in finger skill tend to develop slowly
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Psychology
Discipline: College Honors Program

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Reese, Carly D. "Beat Buddies: An Early Childhood Dyad Model for Social Skills Development in Music Therapy." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou158634820512451.

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Bebe, David Martin. "A Logical and Comprehensive Sequence of Skills for Teaching Children the Cello." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/227.

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The main purpose of this essay is to develop the most effective and logical sequence of skills for teaching children how to play the cello. This essay deals with the questions "When does one introduce specific skills for playing the cello?" and "Is there a sequence of skills that is universally the most beneficial for learning how to play the cello?" The chapters include a detailed examination of the existing cello methods currently available to cello teachers, and explore whether the ideal comprehensive cello sequence exists. It is important for teachers to have a complete plan for the young cellist and to have the proper repertoire that will make this thorough education a possibility. Many teachers use multiple scale and method books that do not fit into a sequence. These books are not designed to be used with each other, and it can be inconvenient to have numerous books in every lesson. I have created a method that contains a logical sequence of skills, spans from the very beginning stages of learning to the most advanced stages of learning, has corresponding scales and exercises for each piece, and avoids confusion and clutter of multiple books by placing scales, exercises, and pieces side by side. This study is meant to assist young teachers by providing a clearly progressive and comprehensive cello method with a corresponding instructional website.

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McCullough, Elisabeth D. "'I don't know anything about music' : an exploration of primary teachers' knowledge about music in education." Thesis, Northumbria University, 2006. http://nrl.northumbria.ac.uk/10/.

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Teachers' thinking underpins their actions, in various ways, consciously or nonconsciously, and therefore it is necessary to understand their thinking in order to understand their teaching. Part of such thinking concerns subject knowledge, which is an important, albeit often assumed, feature in professional practice. For primary school teachers who cover the breadth of the National Curriculum there are particular issues. In music, despite frequent reports from Ofsted referring to the good quality of teaching, there still appears to be considerable lack of confidence among such teachers, frequently linked with a perceived lack of subject knowledge. Subject knowledge in music is under-researched in this country and this small-scale study was intended to explore the nature of teachers' beliefs about music in education. In a qualitative case study approach, the teachers in a two-form-entry, inner-city primary school talked individually, in three separate sessions over the course of an academic year, about various aspects of music in education. They also constructed concept maps to represent their thinking. A process of inductive and iterative analysis led to the identification of four main findings concerning enjoyment, the value of music, issues relating to instrumental teaching and the use of schools' broadcasts. These aspects form the basis of a discussion which moves beyond the original research questions to build an orthogonal model that conceptualises and contextualises teachers' thinking within two dimensions representing their professional/non-professional lives and the formal/informal contexts of musical involvement, nested in their beliefs regarding the nature and value of music. It is suggested that this model might also apply to other subjects. There are implications from this study not only for teachers themselves and for the schools in which they work, but also for those involved in supporting student and practising teachers through ITE, INSET and CPD, as well as for policymakers.

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Ho, Peggy W. "The effects of peer-evaluation on self-evaluation skills in the music classroom." Thesis, Teachers College, Columbia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621775.

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Self-evaluation accuracy is a necessary component of music learning. Without it, students rely on teacher feedback and do not develop skills necessary to become independent learners. While research has indicated that self-evaluation is unreliable and inaccurate, peer-evaluation has been shown to have the potential to be both reliable and accurate. Using social constructivist theory and transfer theory as conceptual frameworks, this study investigated the effects of peer-evaluation on self-evaluation skills in the music classroom.

Pretest and posttest self-evaluation scores of 42 ninth grade band students were compared with three teacher mean scores. Results found students made a slight improvement in self-evaluation accuracy after five peer-evaluations given over 10 weeks. Qualitative analysis of student feedback from peer-evaluations found students improved in both precision and use of musical language and vocabulary. To further investigate students' perception of peer-evaluation, two focus group interviews were administered.

Emerging themes suggested students have a positive impression of peer-evaluation. They found it to be a team building and motivating activity that made them want to be both honest and critical with their peer feedback. Peer-evaluation allowed students to be part of the learning process that helped them build confidence in their evaluation skills. Students found peer-evaluation to be an effective tool for developing critical thinking skills, specifically analytical listening, and were able to cite examples of how skills used and learned during peer-evaluation were transferred to their own self-evaluation skills.

As there is little research on peer-evaluation and music at the high school level, it is the hope that this research will provide a foundation for future research of peer-evaluation at all grade school levels and in all ensemble genres. In addition, this research will hopefully support the introduction of peer-evaluation as a methodology to be taught to pre-service teachers and to help dismiss previous negative notions about peer-evaluation to in-service music teachers, shedding light on the positive impacts of peer-evaluation and its possible uses with students in the music classroom.

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Long, Marion. "The effect of a music intervention on the temporal organisation of reading skills." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/10007423/.

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This study investigated the reading behaviour of school children following participation in a rhythm-based music intervention. The investigation was inspired by pupils' progress in music lessons after using the rhythm-based music intervention. Little empirical work has been done on metre and learning. This project has focused upon 'temporal regulation' and 'temporal integration' as a possible learning pathway linking the music intervention, as an entrainment activity to reading behaviour. The theoretical framework draws upon multi-disciplinary areas of literature to converge on metre as an organisational feature common to music and language. The methodology of this small scale research project involved three stages. First, three empirical explorations of the music intervention used a mixed experimental design. The randomly selected participants were school children, 8-10 years of age. Secondly, a small, randomly selected sample of school children with below average capability in reading comprehension or reading fluency, took part in a two-treatment experimental design comparing the music intervention and a phonics intervention. The third stage, a trial in two schools, investigated whether the effects of the rhythm-based music intervention were sustained when the music intervention was directed by school staff. Although only small samples were involved, a consistent effect was found in gains in reading comprehension for below average capability readers, following participation in the music intervention. In the two-treatment design, positive effects were found for rate of reading, reading comprehension and phonological discrimination but not for reading accuracy. In the trial in two schools, effects were found for reading comprehension, reading accuracy in both schools and rate of reading in one school suggesting that the music intervention may be suitable for use as part of the music or the literacy programme in schools. Overall the data suggested that the rhythm-based music intervention had a positive effect on children's reading behaviour.

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Collazo, Carmen D. "The effect of after-school music programs in at-risk students' self-esteem and social skills in San Juan, Puerto Rico." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/2405.

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The purpose of this study was to examine and expand upon the role the Programas de Orquestas Sinfonicas Juveniles (POSJU) experiences play in self-esteem and social skills. The research took place in Felipe Gutierrez y Espinoza School, one of ten POSJU centers, located in the San Juan, Puerto Rico. Thirty-eight students (N=38) aged 7 to 17 participated in this study. Participants rated their self-esteem and social skills using the Rosenberg Self-Esteem Scale (RSES) and the Social Skills Competence Checklist (SSCC). No significant differences between pre- and post-evaluations on RSES and. SSCC were found. For additional information, teachers evaluated all participants using the Teacher Student Report (TSR). Significant differences were found across the construct of social skills, but not self-esteem. Information regarding the POSJU after school program was collected from parents through a Parent Questionnaire Report (PQR). Overall, parents’ responses towards the program show satisfaction with POSJU.

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Shank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING." UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.

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The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.

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Munn, Vivian Carole. "A sequence of materials for developing sight-singing skills in high school choirs /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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Coy, Benjamin R. "Pitch Performance: A Rational Approach to the Acquisition of Intonation Skills." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338080884.

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Keenan, Kathryn Jo-Anne. "Opinions, attitudes, music skills, and acquired knowledge of older adults using an adapted version of a technology-assisted music education curriculum." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1249062203.

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Mauricio, Rachel D. "An Investigation of the Retention of Keyboard Skills of Non-Piano Music Majors at the Collegiate Level." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245293761.

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Sisley, Beth Ann. "A Comparative Study of Approaches to Teaching Melodic Dictation." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216237008.

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Dimitrova, Valeria. "From Music to Medicine: Transfer of Motor Skills from Piano Performance to Laparoscopic Surgery." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42457.

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Background: Due to the deficit of knowledge on fine motor skill far transfer from one domain of expertise to another, piano performance and surgical training serve as a relevant, interdisciplinary context in which to study the transfer of motor skills given both have relatively well-established levels of performance and require complex fine motor skills. Musicians tend to demonstrate greater ease in all aspects of procedural knowledge which are known to contribute to the early stages of motor learning. Previous research in the Piano Pedagogy Research Laboratory (PPRL) found that extensive piano training was correlated with faster learning of surgical knot-tying skills. However, the short-term two-day timeline was a limitation of the study. Objective: Our project has built on previous work in the PPRL to address the short-term nature of previous studies by measuring a long-term performance curve as well as retention of surgical training and also expanded on the previous project by focussing this time on laparoscopic tasks. This study compared performance curves of two participant groups (pianists and controls) over five consecutive days and retention one week later, as measured by speed and accuracy of task completion. Laparoscopic training consisted of six tasks repeated at every session. Since laparoscopy involves a variety of abilities concurrently, we also administered a battery of ten psychometric tests to isolate and measure specific aspects of non-motor and fine motor skills. Results: There was no statistical difference between participant groups on the majority of laparoscopic training and psychomotor assessments based on two-way mixed ANOVA and Mann-Whitney U test analysis, respectively. There were also little to no significant correlations between abilities and laparoscopic performance. The only significant confounding variable was that the control group was significantly more interested in surgery than the musician group (p = .037). Conclusion: Overall, these results demonstrate that piano performance training did not far transfer to laparoscopic surgery. This is relevant to the debate on far transfer of motor skills given this study’s robust design which addressed previous shortcomings by including a longer timeline and more specifications of musicians’ characteristics. Our findings indicate that fine motor skills are domain specific to music and surgery, respectively.

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Michal, Elva Tice. "Teaching piano skills to handicapped persons through use of systematic instruction : a proposal." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1262631645.

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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 Philosophy
Curriculum 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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Schulte, Erika A. "An investigation of the foundational components and skills necessary for a successful first-year string class a modified delphi technique study /." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086194936.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains viii, 279 p.; also includes graphics (some col.). Includes abstract and vita. Advisor: Robert A. Gillespie, School of Music. Includes bibliographical references (p. 272-279).

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Seybert, Austin. "The versatile trombonist: a curriculum based model for improving audiation skills for the 21st century trombonist." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7030.

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The original focus of this research paper was to ask the question, “Why are there so few versatile trombonists?” The research suggested that there were curriculum problems in higher education associated with the general lack of performance versatility amongst trombonists. In 2014 the Task Force for the Undergraduate Music Major (TFUMM) determined that the undergraduate curriculum was lacking improvisation and creativity. One of the core musical skills that is essential in improvising is audiation. After determining that audiation is one of the keys to performance versatility, I researched jazz pedagogy and how this area of higher education includes and utilizes audiation and improvisation in curriculum. I concluded that traditional conservatory-style pedagogy is lacking improvisation and audiation in its curriculum because of the bias towards the European music tradition and the institutional treatment of jazz as a legitimate art form that is not equal to the European music tradition.To address the issue of performance versatility amongst trombonists, I created the “Modern Trombonist Curriculum” in 2016. This was my first attempt to address undergraduate curriculum by exposing students to a three-studio model, literature versatility, and utilizing audiation as the foundation of their learning. I sent out this curriculum to ten educators and performers for critique and to provide their thoughts on the current landscape of performance versatility, audiation, and my curriculum. After the interviews and the insight of my dissertation committee, I created a new curriculum titled “The Versatile Trombonist” to address the constraints of time, colleague involvement, student engagement, mental health, fiscal concerns, and other issues that I did not originally consider. Although I plan to continually modify and adjust this curriculum, this current version can be used as a benchmark for future educators that desire to include audiation and performance versatility in their current or future trombone studios.

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Bell, Jennifer L. "Determining elementary, middle, and junior high school orchestra directors' presentation sequence of technical skills to beginning and intrmediate string students." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1174926712.

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Crouch, Michelle Joy. "Training singers to be literate musicians: the integration of musical, linguistic, and technical skills in the private voice studio." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/657.

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The singer faces some significant challenges in learning to read music, namely that their instrument has no physical domain for pitch and they must sing two languages simultaneously. When those challenges are combined with the fact that they often arrive in college with less well-developed literacy skills compared with instrumentalists, and that musical literacy instruction is often linked immediately with theoretical analysis before literacy has been established, it is not surprising that singers graduate with graduate degrees with poor musical literacy skills. Using principles of second language acquisition and reading theory, this paper seeks to present a case for the separation of theory and literacy in college curricula, and proposes that such a development will not only see the musical literacy skills of singers improve, but can be seen as the foundation for the connection of performance and theoretical streams of musical study in higher education.

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Saado, Frida, and Katerina Josifoska. "Musik i förskolan." Thesis, Södertörns högskola, Lärarutbildningen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-25786.

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The objective of this graduate work is to gain a better understanding in how pre-school educators are able to work with music in their pre-school activity to promote child development. We also want to enlighten possible factors for the development of children based on music and to form our own ideas of whether teachers choose to apply music in their didactic practice or not. The point of this essay has been to attempt answering on what importance music makes for children's development and learning in pre-school, and how teachers could work with music in pre-school in order to promote children’s development. Our data consists of six interviews and two observations realized at a pre-school in Södertälje. We took heed from the theories laid out by Lev Vygotsky's which describe four different levels of development that includes educational development in social interaction between teacher and child. Our choice of this theory is inspired by our seeking deeper understanding of Vygotsky's theory´s application to the aesthetic approach in the interaction in meaning making and learning. The result of our study confirms previous theory and research in that music as a form of expression has a major impact on children's development. Music creates a powerful learning approach that can be used when a child learns to apply their skills in language and vocabulary, motor development, and social interaction. The results of our qualitative interviews and observations show that pre-school educators´ experiences are consistent with previous research findings regarding the importance of music in children's development during their pre-school years. This may indicate that musical expression can give children yet another tool of expressing themselves while developing their skills and competencies.

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Hunter, Lisa Rae. "The relationship between interpersonal communication skills, teaching effectiveness, and conducting effectiveness of music education students." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/290005.

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The purpose of this study was (a) to determine if there was a significant relationship between the interpersonal communication skills of music education students and teaching effectiveness, (b) to determine if there was a significant relationship between the interpersonal communication skills of music education students and conducting/rehearsal technique, and (c) to determine if there is a significant difference between the conductor and ensemble perception of the conductor's interpersonal communication skills. Subjects were 30 music education students who had taken at least one semester of conducting instruction. Subjects completed three 10-minutes micro rehearsals with an ensemble. Each micro rehearsal was videotaped. Upon completion of the third micro rehearsal, members of the ensemble completed the Questionnaire on Teacher Interaction for each subject to determine the subject's perceived interpersonal communication style profile. Each subject completed the Questionnaire on Teacher Interaction using his/her ideal responses to determine an ideal interpersonal communication style profile. Three judges evaluated videotapes of the first and third micro rehearsal for each subject using the Survey on Teaching Effectiveness to determine teaching effectiveness and the Conductor Observation Form to determine conducting effectiveness. Data were analyzed using two Two-way Analysis of Variances with Repeated Measures to determine if significant differences existed between interpersonal communication skills, teaching effectiveness, and conducting effectiveness. A quotient of agreement was calculated to determine the degree of association between ideal interpersonal communication styles and perceived interpersonal communication styles. Eleven subjects were identified as having helpful/friendly interpersonal communication styles, 11 subjects were identified as having understanding interpersonal communication styles, and 8 subjects were identified as having strict communication styles. Significant (p ≤ .05) differences were found to exist between interpersonal communication skills, teaching effectiveness, and conducting effectiveness. A low (quotient of agreement = .10) degree of association was found between ideal interpersonal communication styles and perceived interpersonal communication styles.

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Apostolaki, Artemis. "Working memory for music, pitch labels and solfège : a cross-cultural study of university students' aural and cognitive skills." Thesis, University of Hull, 2012. http://hydra.hull.ac.uk/resources/hull:10117.

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Sifuentes, Sánchez Mariel Alejandra. "El potencial de la musicoterapia para desarrollar habilidades blandas a nivel organizacional en Lima, Perú." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/652420.

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Hasta hace unas décadas, muchas competencias personales y emocionales habían sido subestimadas por una lógica racional, sin embargo, hoy están siendo revalorizadas y son requeridas en la mayoría de puestos de trabajo. Distintos estudios demuestran que en determinados contextos son tan o más influyentes que las cognitivas para el desempeño de un profesional. Es por ello que el presente trabajo, busca conocer los alcances de la musicoterapia como una herramienta alternativa para el desarrollo de ciertas habilidades blandas blandas, como la comunicación interpersonal en organizaciones en Lima, Perú. La metodología utilizada en esta investigación es de carácter cualitativo. Se obtuvo la información a través de entrevistas semi estructuradas a profesionales de recursos humanos, psicólogos y musicoterapeuts, para analizar sus percepciones con respecto a los alcances de esta herramienta. De esta manera, se combinó el análisis de la literatura con las entrevistas a especialistas. Dentro de las principales conclusiones encontramos que los profesionales de distintos rubros coinciden en que las habilidades blandas son parte de la fórmula del éxito para cualquier profesional, tanto personal como laboral y a su vez que estas influyen en la cultura organizacional. Asimismo, los expertos consideraron que la musicoterapia sí podría ser una vía para desarrollar dichas habilidades en colaboradores de empresas en Lima, Perú.
Until a few decades ago, many personal and emotional skills had been underestimated by a rational logic, however, today they are being revalued and are required in most jobs. Different studies show that in certain contexts they are as or more influential than cognitive ones for the performance of a professional. That is why the present work seeks to know the scope of music therapy as an alternative tool for the development of certain soft soft skills, such as interpersonal communication in organizations in Lima, Peru. The methodology used in this research is qualitative. The information was obtained through semi-structured interviews with human resources professionals, psychologists and music therapists, to analyze their perceptions regarding the scope of this tool. In this way, the analysis of the literature was combined with the interviews with specialists. Among the main conclusions, we find that professionals from different fields agree that soft skills are part of the formula for success for any professional, both personal and work, and in turn they influence the organizational culture. The experts also considered that music therapy could be a way to develop these skills in collaborators of companies in Lima, Peru.
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Dissertations / Theses on the topic 'Music skills'

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