Dissertations / Theses on the topic 'Music teachers Music Education, Higher'
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Jones, James B. "Music performance faculty in higher education : their work and satisfaction /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984315649.
Full textMcCowen, Heather V. "Mentoring in Higher Education Music Study: Are Good Teachers Mentors?" Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30491/.
Full textWasson, Carla Sue. "An analysis of college applied woodwind positions in the academic labor market from 1983-1990 /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226171.
Full textIncludes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 120-126).
Makonnen, Karyn. "The Interdisciplinary Approach: A Music Education Methods Course Component For Preservice Education and Music Education Majors." Bowling Green State University / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1421884052.
Full textDrummond, Urvi. "Music education in South African Schools after apartheid : teacher perceptions of Western and African music." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6298/.
Full textRademan, Carika. "Evaluating the efficacy of training programmes for secondary school music teachers at higher education institutions in the province of the Eastern Cape." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1019925.
Full textPonce, Frank Kalani. "Job Satisfaction Among High School Choral Music Teachers in the State of Ohio." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392742151.
Full textCorley, Alton L. "An investigation of the predictive relationship of academic variables in three different learning environments to the intentions of music education majors to leave the degree program." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/corley%5Falton/index.htm.
Full textLoveless, Jerry C. L. "The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses| Faculty Member Perspectives and Potential Barriers." Thesis, Portland State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540707.
Full textPrevious research has identified student engagement as an important antecedent to student learning in higher education. Although student engagement is viewed as important for learning, a significant number of college students still report frequently feeling bored in their courses. The use of music as a pedagogical tool is believed to be beneficial for promoting student engagement and student learning in higher education sociology courses, yet it has been suggested that sociology faculty members do not commonly incorporate the technique into their courses. The purpose of this comparative interview study is to explore higher education sociology faculty members' understandings of the use of music as a pedagogical tool, and the perceived importance of student engagement to student learning among higher education sociology faculty members.
In this study, it is found that higher education sociology faculty members believe student engagement can lead to increased student learning. It is also found that higher education sociology faculty members generally identify music as an effective pedagogical tool for promoting student engagement and learning in higher education sociology courses. Interestingly, participants believed the use of music as a pedagogical tool to be an uncommon practice in higher education sociology courses in the United States. As part of their efforts to explain their choices to use or not use music as a pedagogical tool, faculty participants described potential barriers that may impact faculty member choices to use music in their higher education sociology courses.
Sociology faculty participants in this study agreed that a lack of discussion of pedagogical tools among colleagues and in teaching courses might serve as a potential barrier for the use of music as a pedagogical tool. Higher education sociology faculty participants also identified a lack of knowledge of how to use music as a pedagogical tool as a potential barrier for the use of music in sociology courses. This research suggests that the lack of faculty knowledge of music as a pedagogical tool may be due to the lack of discussion of pedagogical tools both among colleagues and in the teaching courses completed by higher education sociology faculty members.
Past research has suggested that sociology faculty members need to create an environment that encourages students to be active and engaged participants in their own learning through building a community of learners. This study suggests that higher education sociology faculty members may successfully build a community of learners through using music as a pedagogical tool in their courses. This study recommends that changes at the departmental level need to occur in order to make it easier for sociology faculty members to gain the knowledge required to use music effectively in their courses. Suggestions for practice and future research are provided.
Karakelle, Sibel. "The Centralized Higher Education System in Turkey and the National Music Teacher Training Program Since 1998: An Analysis." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/karakelle%5Fsibel/index.htm.
Full textSmith, Elaine Kelly. "A descriptive analysis of high school choral teachers? inclusion of popular music in current teaching practices." Thesis, The University of North Carolina at Greensboro, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123639.
Full textThe purpose of this study is to provide a descriptive analysis of high school choral teachers’ inclusion of popular music in current teaching practices by (a) determining the frequency of inclusion, (b) developing a profile of teachers, schools, and choral programs that include popular music in the curriculum, (c) determining which demographic characteristics affected the amount of popular music included, and (d) developing a profile of popular music implementation details. The Popular Music Survey, a researcher designed online survey, was developed to collect demographic data and information concerning the participants’ inclusion of popular music in their high school choral classrooms. Participants were high school choral teachers in the Commonwealth of Virginia (n = 104). Data were analyzed using IBM SPSS Statistics for Macintosh, Version 22.0.
Results of the study revealed that 100% of participants include popular music in the choral curriculum as performance literature and/or instructional materials. Descriptive statistics of demographic data of the teacher, school, choral program, and ensemble were used to develop a profile to describe the typical high school choral teacher who includes popular music. Descriptive statistics were also used to develop a profile to describe how high school choral teachers included popular music in the choral classroom.
The majority of participants (n = 91, 87.4%) responded that the percentage of popular music performed was 30% or less of their total performance literature. Pearson Chi-square and one-way analysis of variance were used to determine the extent to which popular music was included in the high school choral curriculum. The achievement of a master’s degree was the only teacher characteristic that significantly affected the amount of popular music included in the high school choral curriculum (p = .028). Participants with a master’s degree included more popular music than participants who did not have a master’s degree.
Implications for music education were discussed in relation to the findings of the current study. Recommendations were made for future research regarding the inclusion of popular music in choral classrooms, as well as in other areas of music education.
Klonowski, Olivia. "Secondary Music Teachers' Perspectives on the Inclusion of Rock Bands in High School Music Classrooms." Youngstown State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1619793991159909.
Full textRussell, Heather A. "Music Student Teacher Reflections as Narratives of Identity." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/146212.
Full textPh.D.
The purpose of this research was to explore how music student teachers make sense of classroom events during the student teaching internship using a required Video Reflection Assignment. Three questions guided this study: 1) How did student teachers use aspects of three-dimensional narrative space (temporality, sociality, and space) to story classroom events? 2) What aspects of Reflective Practice did student teachers illustrate in their Video Reflection Assignments? 3) How did student teachers reveal their identities as musicians and teachers through their reflections? Data were Video Reflection Worksheets (VRW), video-recorded teaching episodes (videos), and participant questionnaires. Analysis combined narrative, case study, and grounded theory techniques. Participants' answers on VRWs revealed aspects of their musician and teacher identities, dilemmas of practice caused by classroom events and conflicting stories with cooperating teachers, and provided insight into the ways participants either rationalized or reflected on classroom events. Results of the study contribute to the profession's understanding of the interplay of musician and teacher identities, and point to the importance of attending to narratives of identity revealed in student teachers' reflections through language use, as well as the alignment of student teachers' and cooperating teachers' storied identities when assigning internship placements. Additionally, results raise important questions concerning student teachers' abilities to use reflective assignments like the one in this study to self-reflect, and point to the usefulness of three-dimensional narrative space and MacKinnon's clues to detecting reflective activity for reframing teacher-educator's evaluations of student teachers' reflections.
Temple University--Theses
Meredith, Tamara. "Extending the Apprenticeship through Informal Learning on Facebook: An Interpretative Phenomenological Analysis of the Lived Experiences of Music Faculty." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984183/.
Full textAndersen, Kristen. "Instructor Responsibilities in Hybrid Education Courses| A Triangulated Single-Case Study from the Perspective of Higher Education Music Students." Thesis, Northcentral University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10787171.
Full textThe purpose of the qualitative single-case study was to explore and gain deeper understanding of instructor responsibility within hybrid learning courses from the perspective of higher education music students. Two research questions guided the case study: (a) How do higher education music students perceive their instructors’ responsibility for cognitive, social, and instructional presences along with their expectations of content development and quality of feedback in hybrid learning courses? (2) What do higher education music students perceive as valuable instructor responsibilities in hybrid learning courses? From a triangulated case study, data were collected via demographic and Community of Inquiry questionnaires along with individual one-on-one interviews with participants. Data were analyzed using Atlas.ti8 software with open and list coding. Themes were derived from the codes to adequately arrange, analyze, and organize participant perspectives. The exploration led to discovering the five main themes representing a large spectrum of expectations students had of their hybrid instructor’s responsibilities including, (a) assignments, (b) communication and online presence, (c) engagement, (d) feedback, and (e) curriculum. Through the nature of the in-depth case study investigation, various perceived and expected hybrid instructor responsibilities, qualities, and values were also revealed from the students including an overall view of the hybrid learning structure. As more distance and hybrid courses were built, higher education institution leaders increasingly needed to be in tune with their students’ instructor expectations and learning needs.
Poncé, Frank Kalani. "Job satisfaction among high school choral music teachers in the state of Ohio /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487853913102864.
Full textWilliamson, Hugh. "PENNSYLVANIA HIGH SCHOOL INSTRUMENTAL MUSIC TEACHERS' PERCEPTIONS OF CHANGES IN INSTRUCTIONAL TIME AND RESOURCES." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/249629.
Full textPh.D.
The purpose of this study was to determine Pennsylvania public high school instrumental music teachers' perceptions of changes to instrumental music instruction that may have been the result of a narrowing focus on student performance on standardized tests and sanctions linked to the No Child Left Behind Act of 2001 (2002). The study used a descriptive design to investigate ways that standardized testing may have influenced student opportunities to participate in school instrumental music, instructional time available for instrumental lessons and performing ensembles, budgetary resources and funding sources, staffing, and instrumental music curricula in Pennsylvania high schools. Data were gathered via an anonymous web-based survey. Of the entire population of 710 full-time high school instrumental music teachers in Pennsylvania, 304 responded. Of those, 247 successfully completed the survey and were appropriate for analysis. Results suggested that across PA high schools, instrumental music opportunities were varied and inconsistent with regard to instructional time, financial resources, access and availability of students, and support for instrumental music within the larger curriculum of the schools. These inconsistencies may have resulted in unequal opportunities to participate in instrumental music programs, partially because of funding and policy priorities at the state and local level that value test-based accountability rather than more comprehensive methods of evaluating child development and learning. Prior research suggested that opportunities to participate in instrumental music were linked to individual and group standardized test performance. Schools in very large urban districts with high percentages of low-income and minority students were the most likely to face reductions in instrumental music opportunities. Implications included the possibility of inequitable reductions to music programs potentially undermining efforts to help reduce or prevent achievement gaps. Reductions in instrumental music opportunities for elementary level students was a particular concern since neurobiological research findings suggest special benefits for early childhood music instruction. Recommendations for further research included replication of the study using identifiable data, case studies of individual high schools, the continuation and expansion of longitudinal studies between neuroscientists and music educators, and a survey of school administrator attitudes toward music education.
Temple University--Theses
Carpenter, Robert Alan. "A descriptive analysis of relationships between verbal behaviors of teacher-conductors and ratings of selected junior high and senior high school band rehearsals." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302627132.
Full textTracy, Elizabeth Joan. "Innovators in the Classroom: In-service Teachers Creating and Implementing Non-Band, -Choir, and -Orchestra Courses in Their High Schools." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523004518027062.
Full textJohnson, William Raymond. "Four-Year Music Degree Program Perceptions of Value from Administrators and Students: A Mixed Methods Study." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460725110.
Full textLeung, Hoi-yan, and 梁愷恩. "A comparative study of music education in two secondary schools in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B27709528.
Full textWilkinson, Mark Leslie. "The Singing Doctor: Reconsidering the Terminal Degree in Voice Performance." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587553732265375.
Full textCorley, Alton L. "The predictive influence of variables in three different academic learning environments on the intentions of music education majors to leave the degree program." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4228/.
Full textMortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
Full textGarcia, Fernanda Krüger. "O perfil do professor de música do ensino médio e suas crenças de autoeficácia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/157059.
Full textThe purpose of this work is to investigate the relation between the education and professional profile of high school music teachers with their self-efficacy beliefs. Such construct concern the beliefs of the teachers in regard to their own capacity of following specific plans of action to perform explicit tasks. Teachers who have strong self-efficacy beliefs are better committed to their teachings, deal more efficiently with students’ learning problems and with stressful academic factors, pursue innovations in their teaching practices and aim to promote autonomy and self-confidence amidst their students. Bandura’s Self-Efficacy Theory served as the theoretical background. Self-efficacy beliefs are among the thoughts that exert most influence on human functioning; they are a central aspect of Social Cognitive Theory, which shows that personal, behavioral and environmental factors suffer a dynamic inter-relation to form human actions and thoughts. This research is a part of a major project developed by the group Education and Acting of Music Professional, called “Mapping teachers that work with music in basic education: a survey of their education, acting and self-efficacy beliefs”. It consists of an internet-based survey, divided in two parts: the first comprises objective questions concerning the teacher’s personal data; the second focuses on the Music Teacher’s Self- Efficacy Scale. The research used a non-probability sample of the snowball type Descriptive and inferential statistic tests were used for data analysis. The results showed the existence of a relationship between music teacher’s education and professional activities with their selfefficacy beliefs. Schooling level and specialized music training are the factors that seem to exert strongest influence on the teacher’s self-efficacy beliefs to teach music and to deal with changes and challenges. Teachers who demonstrated higher self-efficacy belief levels to motivate students were those that work with child musicalization and who teach specific music courses at schools. Results also show that teachers who feel they’re more capable to deal with changes and challenges are those that that also teach at academic levels other than high school. It is hoped that this work may contribute for a better knowledge of high school music teachers, bringing to light relevant data to understand teaching training and to strengthen musical education in schools.
Araújo, Mauro Monteiro. "Os desafios em lecionar para a geração Y: estudo acerca da utilização de didáticas práticas, musicalidade, como ferramenta de geração de motivação e atração do interesse do aluno para o aprendizado." Master's thesis, [s.n.], 2015. http://hdl.handle.net/10284/4923.
Full textAtualmente, o perfil do estudante das instituições de ensino superior se difere totalmente das de alguns anos atrás, o que motivou este estudante de Mestrado a investigar empiricamente os comportamentos da geração que ocupa as cadeiras da universidade, assim como buscar soluções para que estes estudantes criassem interesse em aprender, interesse em estudar. A pesquisa se deu de forma documental, exploratória, qualitativa e aplicada em estudo de caso. Revisado a bibliografia que embasa esta teoria: gerações Baby Boomers, X, Y e X, motivação, aprendizagem, acessibilidade às faculdades brasileiras, comportamento do aluno e do professor; o foco partiu para o estudo de caso. As três hipóteses foram confirmadas: O professor do ensino superior pode atrair o interesse e gerar motivação no aluno da Geração Y; a motivação dos alunos contribui para o sucesso educativo; e a Técnica de ensino utilizada pelo professor contribuiu para o aprendizado dos alunos. A investigação concluiu que o professor planejando se, englobando o conteúdo da matéria de forma mais criativa e prática, atrelando e correlacionando a disciplina aos interesses e realidades dos estudantes e construindo um envolvimento social com os alunos, faz com que o aluno da Geração Y se interesse e se motive para o aprendizado conduzindo o processo de aprender de forma mais assertiva e natural. Currently, the profile of higher education institutions’ students is totally different from a few years ago, which motivated this Master's student to empirically investigate the behavior of the generation that holds the chairs of the university, as well as solutions for these students to create interest in learning, interest in studying. The research took an exploratory qualitative documentary form, and was applied in a case study. The literature that supports this theory was reviewed: Baby Boomers, X, Y and X generations, motivation, learning, accessibility to Brazilian colleges, student and teacher behavior; then the focus was addressed to the case study. The three hypotheses were confirmed: the higher education professor may attract interest and generate motivation in students of Generation Y; the students’ motivation contributes to the educational success; and the teaching technique used by the teacher contributed to the students’ learning. The investigation concluded that when the teacher plans, if he encompasses the content of the material in a more creative and practical way, links and correlates the subject to the interests and realities of students and builds a social engagement with students, then the Gen Y student gets interested and motivated for learning leading to a more assertive and natural learning process.
Young, Sharon M. "Music teachers' attitudes, classroom environments, and music activities in multicultural music education /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.
Full textHsu, Emile. "In Their Hands| Extra-curricular Use of Technology by High School Music Students." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10841427.
Full textThe purpose of this study is to explore the technology high school music students are using to improve musicianship. For this study, research was done to determine how students are using the available devices and the most popular applications, programs, and websites available and used by high school band students. A survey was issued to instrumental music students in two high schools asking questions pertaining to the topic. Then, data was compiled into lists consisting of the devices, uses, and applications that were the most favored. The results showed that a majority of students occasionally used technology to either self-evaluate while practicing or find music on their own. In addition, students favored using smart devices while practicing, and they chose applications based on accessibility or familiarity. The findings from this study were similar to a few sources in the related literature, which determine that students are familiar with the technology in similar ways several educators are. For those reading this thesis, the information will provide them with better awareness of the technology their pupils use for music learning.
Holmberg, Susan D. "Music teachers’ perceptions: the role of music education in early literacy." Diss., Kansas State University, 2010. http://hdl.handle.net/2097/4635.
Full textCurriculum and Instruction Programs
Jana R. Fallin
In the wake of No Child Left Behind Act (U.S. Department of Education, 2006), educational reforms focused on providing students with effective systematic instruction in reading skills have become a nationwide concern. Report findings from the National Reading Panel (National Institute of Child Health and Human Development, 2000), indicate the establishment of a high quality comprehensive reading curriculum must include the five key components of phonemic awareness, phonics, fluency, vocabulary, and comprehension to improve reading achievement. These essential elements, with emphasis on phonemic awareness and phonics skills beginning in pre-kindergarten, are instrumental in the acquisition of early literacy development. The purpose of this qualitative study was directed toward better understanding first grade general music teachers’ perceptions of the role of music education in the attainment of early literacy. Using a multi-site case study design to examine and present an analysis of nine public elementary school music educators from across a Midwestern state, each of which used one of the three elementary general music series currently published, resulted in this collective case study. Data indicated parallels focused on the five key reading components between music and language literacy development processes, with particular emphasis on aural discrimination skills to phonemic awareness. Further findings described the sequential sound before symbol pedagogical practice of music literacy development from the perspective of the nine general music educators to be similar to early reading skills progressions, as they experienced equivalent learning processes. Implications for the educational community and suggestions for further research were discussed.
Cain, Timothy. "Mentoring trainee music teachers." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192637/.
Full textMercavich, Charles James. "Survey of music executives in higher education /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487267024998257.
Full textCook, Andrew S. "A poststructural investigation of music teachers and music education in film." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10970.
Full textAs popular texts that circulate widely, films contribute to the way groups, individuals or ideas are understood in society. In this study I sought to explore the portrayals of music teaching in Hollywood movies, and examine the ways films might contribute to the occupational identity of music teachers. This investigation focused on four films that feature music teachers as major characters and that demonstrate a prevalent position in public consciousness as indicated by commercial success: Mr. Holland's Opus (1995), Music of the Heart (1999), Drumline (2000) and School of Rock (2002). I employed two poststructural approaches to analysis which view meaning as plural, negotiated and produced primarily by the reader's encounter with the text. One reading uses Derrida's project of deconstruction to focus on aporias, or paradoxes, and assumptions upon which texts make claims of truth. Aporias of responsibility, hospitality and the gift serve as lenses through which I investigate issues of professionalism, access and the image of the hero-teacher within music education. A second reading uses an intertextual approach to film analysis, acknowledging that texts derive meaning in part from their association and communication with other texts. Using related films, texts from popular culture and movie reviews, I investigate how these films construct images about gender, race and the value of music in schools. Exploring possible dominant, negotiated and contrary readings of these film texts, I look at a variety of possible interpretations and suggest ways that the films might be used by teachers and pre-service teachers to better understand expectations that people carry with them into the music education environment. As films may be used as sources for common-sense understandings in society, I explore how these films may act as structures to the agency of music teachers and how the negotiation of these portrayals might impact the music education environment.
Tucker, Olivia Gail. ""Everybody is Good Enough": Band Teacher Agency in a Highly Competitive Environment." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707234/.
Full textMichel, Jimmy. "Elementary Music Teachers' Perceptions of the Effect of Budget Reductions on Music Education." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/4746.
Full textBallantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16074/.
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 textCocco, Brad J. "How Do Music Teachers Measure Student Growth?" Ashland University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ashland1416567235.
Full textJunda, Mary Ellen. "The development of a model inservice teacher education program in music sight reading methodology /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936695.
Full textAusmann, Stephen Wade. "Characteristics of in-service urban music teachers and pre- service music teachers in Ohio and their attitudes toward teaching music in urban schools /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487687115923089.
Full textAndrianopoulou, M. "Aural education and its pedagogical conceptualisation in higher music education." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10043813/.
Full textRoche, Robert J. "Exploring Flow Amongst Experienced Middle School and High School Band Directors." Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827003.
Full textThe purpose of this study is to explore and identify flow characteristics in experienced middle school and high school band directors in the context of their teaching. The research was conducted using a qualitative multi-case study through the use of non-participant observations, field notes, and interviews with observational video with stimulated recall to identify the characteristics of flow in a total of five experienced middle school or high school band directors. It was apparent from the findings that every experienced middle school and high school band director experienced flow characteristics at different times while instructing their bands; conditions that facilitated and inhibited characteristics of flow as well as qualities that sustained characteristics of flow also were observed. This research may contribute to improved professional development and preparation of band directors; it may help them to recognize and achieve flow and develop good teaching practices, thereby enabling their students to reach their learning potential.
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.
Full textMeidinger, Valerie. "Multicultural music : attitudes and practices of expert general music teachers in Oregon /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055699.
Full textElwakeel, Mahmoud. "GENERAL MUSIC TEACHERS' PRACTICES AND ATTITUDES TOWARDS THE USE OF MULTIMODAL MEANS IN MUSIC INSTRUCTION." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/300583.
Full textPh.D.
The purpose of this study was to examine general music teachers' practices and attitudes regarding the use of multimodal pedagogy in music instruction. A survey design was used to explore the extent to which general music teachers, in a delimited geographical area in southeastern Pennsylvania, use multimodal pedagogy and their attitudes towards it. Data were gathered by contacting 600 potential participants via email and inviting them to take part. Of the 600 contacted, 170 respondents participated in the study (28% response rate). In total, 127 completed the survey and were considered by the researcher to be appropriate for analysis. General music teachers reported that the most frequent teaching modalities used while planning, teaching, and assessing their students were, in decreasing order of frequency, aural, multimodal, visual, and kinesthetic modality. However, this array of modalities was used less frequently while assessing students than planning and teaching. The majority of respondents favored the use of aural modality while assessing their students. The availability of movement materials predicted general music teachers' use of multimodal pedagogy while planning, teaching and assessing students. Gender, teachers' educational degree, professional development, the availability of percussion instruments, and iPad and tablets predicted general music teachers' use of multimodal pedagogy while assessing students. Attending Orff, Kodály, and Dalcroze professional development programs had a significant relationship with general music teachers' use of multimodal pedagogy while planning and assessing their students. Responses to the open-ended questions provided evidence of how general music teachers actually experience the application of multimodal pedagogy in the classroom. Specifically, the responses showed how individual teachers considered students' learning styles while planning and teaching, and assessing to secure students' success. General music teachers reported a generally positive attitude towards the use of multimodal pedagogy. The availability of Orff instruments was a positive predictor, and guitar was a negative predictor for general music teachers' attitudes towards the use of multimodal pedagogy. Attending Orff, Kodály, and Music Learning Theory (MLT) professional development workshops had a significant relationship with the music teachers' attitude towards the use of multimodal pedagogy. These factors that contributed to general music teachers' positive attitudes towards the use of multimodal pedagogy partially because Kodály, MLT, and Orff techniques including Orff instruments encouraged general music teachers to incorporate different learning modalities inside the music classroom. The open-ended question captured the participants' voices and provided further evidence of general music teachers' positive attitudes towards the use of multimodal pedagogy and how they recognize the benefits of using it. These results have implications for music educators that include developing professional development programs designed to assist in the use of multiple modalities. Recommendations for further research include examining the effects of multimodal music pedagogy on elementary students' acquisition of specific music skills (e.g., singing voice, rhythmic achievement).
Temple University--Theses
Petersen, Jr Gerald Anthony. "Factors Contributing to Arizona Elementary General Music Teachers' Attitudes and Practices Regarding Multicultural Music Education." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1109%5F1%5Fm.pdf&type=application/pdf.
Full textFeichas, Heloisa Faria Braga. "Formal and informal music learning in Brazilian higher education." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10020512/.
Full textDalagna, Gilvano. "Desired artistic outcomes in music performance: a mentoring program for higher education and music industries." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/18611.
Full textEsta tese explora os resultados artísticos desejados que os estudantes do ensino superior em música buscam concretizar no âmbito das indústrias da música. Os resultados artísticos desejados tem sido reconhecidos como uma conceptualização artística que desempenha um papel importante para o reconhecimento social e artístico do performer. Apesar desta perspetiva ser amplamente mencionada na literatura, vários estudos sugerem que os alunos do ensino superior em música não tem sido encorajados a explorar os seus próprios resultados artísticos desejados. Esta falta de encorajamento é apontada como uma das principais razões que explicam as dificuldades enfrentadas pelos alunos na transição entre o ensino superior e as indústrias da música. Neste sentido, diversos autores tem sugerido o desenvolvimento e a implementação de programas de tutoria vocacionados para colmatar esta lacuna e consequentemente auxiliar os estudantes do ensino superior em música a promoverem os seus resultados artísticos desejados. No entanto, tentativas de desenvolvimento e implementação deste tipo de programa são praticamente inexistentes. Baseado neste cenário esta tese tem como objetivo propor um programa de tutoria artística que auxilie os estudantes do ensino superior em música a concretizar seus resultados artísticos desejados no âmbito das industrias da música. Com o intuito de atingir este objetivo a presente investigação foi dividida em três etapas. Na primeira etapa uma revisão multidisciplinar da literatura e dois estudos exploratórios foram conduzidos com o propósito de desenvolver um modelo teórico dos resultados artísticos desejados. Na segunda etapa o programa de tutoria artística proposto foi desenvolvido tendo como base as perspetivas sugeridas pelo modelo teórico gerado na fase anterior. Na terceira etapa, uma investigaçãoação informada pela etnografia (ethnographically informed action-research) envolvendo oito alunos de uma instituição de ensino superior em música em Portugal foi realizada com o intuito de verificar as potencialidades do programa de tutoria artística como ferramenta de apoio à promoção dos resultados artísticos desejados e a pertinência do modelo teórico. A análise dos dados coletados centrou-se em três aspetos principais: (i) as perspetivas dos estudantes em relação aos resultados artísticos desejados (i.e. conceptualização, desafios e promoção); (ii) ação (i.e. tentativas de concretizar os resultados artísticos desejados) e (iii) promoção (i.e. a perceção dos estudantes sobre o papel do programa de tutoria na promoção dos resultados artísticos desejados). Os resultados desta investigação-ação suportam o modelo teórico previamente desenvolvido e sugerem que o programa de tutoria artística pode auxiliar os estudantes do ensino superior em música a superar as dificuldades enfrentadas no processo de promoção dos seus resultados artísticos desejados no âmbito das indústrias da música. Com base nestas conclusões são discutidas as implicações do programa de tutoria artística para o atual paradigma do ensino da performance musical em instituições de ensino superior em música.
This thesis explores Desired Artistic Outcomes (DAO) that higher education students aim to achieve as performers in the music industries. In music performance, DAO are recognized as the aesthetical conceptions that performers aim to achieve on the concert platform. Such an internal conception is part of the subjective world of performers, which is shaped by career expectations. Despite the perspectives above having been widely recognized in the literature, there is still a lack of knowledge about musicians’ DAO. Particularly, research on how DAO can be nurtured in higher education is still missing. Simultaneously, there has been an increased concern with the development of this phenomenon. Evidence suggests that higher education students have been reporting not enough encouragement to explore their own DAO. Such lack of encouragement is pinpointed as one of the main reasons for a difficult transition from student to professional. Following this line of thought, the importance of mentoring environments in higher education, particularly concerning the teaching of music performance, has been highlighted in the literature as a possible means to fill in this gap. However, empirical attempts to develop and implement such mentoring environments in higher education music institutions are still scarce. Based on this scenario, this thesis aims to propose a mentoring program that can assist higher education music students to promote their DAO as performers in the music industries. In order to reach this aim this thesis was divided into three parts. First, a theoretical framework for DAO based on the triangulation between a multidisciplinary literature review and exploratory studies was developed. This framework allowed a perspective on conceptualization, challenges, achievement and the role of higher education music institutions in assisting students to nurture their DAO as performers in music industries to be built up. Based on the perspective suggested in the theoretical framework, the mentoring program was developed and implemented. Finally, a naturalistic inquiry structured as an ethnographically informed action research involving eight higher education students from a Portuguese institution was adopted as a means to validate the theoretical framework and verify the potentialities of the mentoring program. The analysis focused on three main streams: (i) students’ perspectives on DAO (i.e. conceptualization, challenges and achievement of DAO); (ii) action (students’ attempts to promote their DAO in the mentoring program); and (iii) promotion (students’ perception of how the mentoring program assisted them in promoting their DAO). The triangulation among the theoretical perspective and the results from the naturalistic inquiry validate the theoretical model and suggest that the mentoring program here proposed can assist higher education music students to overcome the challenges that restrict the achievement of DAO. Based on these conclusions, pedagogical implications are discussed taking into account the current paradigm of music performance teaching in higher education institutions.
Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.
Full textBalija, Ayn Theresa. "What do I Assume? An Applied Lesson Approach Integrating Critical Thinking and Student-Directed Learning." Thesis, James Madison University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702655.
Full textThe applied music lesson remains a revered symbol of Western European tradition in American music education. Very little research exists assessing its continued viability as a method in its current form. This paper examines eight author observed assumptions about applied music lessons which flaw the learning process. Through available research, the assumptions demonstrate that the traditional applied lesson is teacher centered and difficult to assess. Exposing the resultant delusions of the eight assumptions reveals how a holistic approach in a studio can engage students in critical thinking and enhance student self-awareness. These primary goals place the educational emphasis on the process rather than the technically perfect performance as the terminal experience. Sample lesson techniques for undergraduate viola students will incorporate critical thinking methods to transform the weekly encounter into a student-centered experience which develops skills for continued self-directed study.
Goodman, Jerry Lee. "Perceived music and music-teaching competencies of classroom teachers in the state of Ohio." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302725455.
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