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Gray, Tonya E. "The relationship between the undergraduate music methods class curriculum and the use of music in the clasrooms of in-service elementary teachers." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1167794.
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The purpose of this study was to determine the relationship between the undergraduate music education methods class curriculum and the amount of time music concepts and activities were used each week in the classrooms of in-service elementary teachers. A secondary purpose was to determine the differences among in-service elementary teachers' use of music concepts and activities in their classrooms by selected background factors. Subjects (n=416) were randomly selected elementary classroom teachers from the states of Georgia (n=106), North Carolina (n=101), South Carolina (n=100), and West Virginia (n=109). A researcher-developed questionnaire was mailed to principals who distributed the questionnaire to the teachers and secured their return. The questionnaire explored background factors of the subjects, the degree to which they experienced 17 music activities and concepts in their undergraduate music methods class, and the frequency with which they used these activities and concepts in their own classrooms.A discriminant analysis procedure was utilized to determine whether the variable clusters considered simultaneously were significant predictors of the amount of time elementary classroom teachers' use music in their classroom (n = 297). Of the three variable cluster groupings, two were found to contribute uniquely to the definition of the discriminant function. Over 42% of the subjects were correctly classified into the amount of time they used music in their classrooms by simultaneously considering variable cluster I (participating in folk dances, singing games, or other motor movements; integrating music with other academic subjects; creating songs, rhythms, movements) and in variable cluster 3 (developing call charts for listening lessons; teaching lessons on a specific musical concept; practicing solfege for pitch discrimination; reading music notation and rhythms; playing musical recordings as background music; identifying names of instruments in the orchestra) (see Table 9). Also, significant differences (p <.05) were found between subjects by gender, participation in music ensembles in high school and college, participation in private music instruction in high school and college, and the inclusion of a music specialist; and among subjects by educational background, number of years taught, grade level taught, philosophical positions, and undergraduate music methods course requirements.School of Music
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Fiorillo, Risa Maree. "Music handbook for primary grade teachers." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1739.
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Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.
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Sweeney, S. E. "Music in the National Curriculum : implications of assessment for pupils, teachers and schools." Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262667.
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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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Flolu, Emmanuel James. "Re-tuning music education in Ghana : a study of cultural influences and musical development, and of the dilemma confronting Ghanaian school music teachers." Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/14045/.
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Sanyshyn, James Evan. "The role of Canadian music in the preparation of music specialists in British Columbia /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30213.
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This study examined the role Canadian music plays in the preparation of secondary school music specialists in British Columbia. Programme content was explored through an analysis of course calendars, a review of student, faculty and guest recital repertoire, and interviews with post-secondary instructors and senior music education students. Fourteen music specialists completed a checklist in order to determine what Canadian materials are being used in the classroom. Follow-up interviews were conducted with three teachers to further explore the selection of teaching materials. An official from a local school board and a participant in the development of music curriculum documents were also interviewed to ascertain the value placed on Canadian music by local school boards and the Ministry of Education. Findings identified a need for increased Canadian content in all facets of post-secondary teacher training in order to expose secondary music specialists to available Canadian resources. Implications for further research are discussed.
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Prescesky, Ruth. "A study of preservice music education students : their struggle to establish a professional identity." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42120.
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The purpose of this research was to gain an understanding of how music education students come to think of themselves as music educators. Guided by the thematic framework, "learning from experience", which draws upon research relating to constructivist theory and biographical inquiry, as well as literature pertaining to construction of images of self, this study explored four music education students' perceptions of themselves as musicians and as educators. Believing that self-perceptions are rooted in personal biographies, autobiographical and journal writings were investigated to establish links between participants' perceptions and biographies. Issues encountered by participants as they began to think of themselves as music educators were uncovered.Participants' perceptions of their "selves" were rooted in childhood memories and models of practice. They interpreted, internalized and practised the tacit expectations of their models of practice. Subsequently, participants' images of self-as-musicians and self-as-educators were connected by a common thread, that of image of self. Participants who viewed self-as-performer encountered conflict between their identities as musician and as educator. Other participants constructed images of self-as-participants. As such, they experienced a sense of unity and resonance between their identities as musicians and as educators.
Issues directly related to their self-perceptions surfaced as participants began to think of themselves as music educators. The study considered the implication of these issues for teaching practice, and the relationship between these issues and preservice teacher training. This study concludes with a discussion of research implications and directions for reforming music teacher education.
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Butler, Abigail. "The relationship among preservice music education teachers' conceptions of teaching effectiveness, microteaching experiences, and teaching performance." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/289016.
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Fifteen undergraduate music education majors enrolled in an introductory music education course at a major university in the Southwestern United States participated in this study. Students constructed concept maps on the topic teacher effectiveness as a measure of their cognitive schemata. They completed two microteaching lessons in two different settings which were videotaped and subsequently analyzed using the Survey of Teaching Effectiveness and a time sampling procedure using criteria from teacher intensity research. Following their microteachings students constructed a second concept map on the same topic. Students were interviewed to explore the nature of their thinking about effective teaching. Quantitative analyses were conducted using data from the concept maps and both measures of teacher effectiveness. Results of a dependent t-test showed no significance difference between map scores either for total score or component scores of extensiveness and coherence. Spearman Rank Correlations were calculated between map scores and subjects' scores on both the STE and TI measures. No significant correlations were found to exist. Qualitative analyses were completed based on data from concept maps, self-evaluations, and interviews. Frequency responses by categories and data source indicated subjects' responses fell into two main areas: teacher effectiveness and skills and strategies. Within these two areas four sub-categories were targeted for further analysis: knowledge, teacher traits, delivery and instructional skills. Frequency responses for all but delivery skills were quite high. The following conclusions were drawn: (1) Preservice teachers have a clear picture of what it means to be an effective teacher. They describe an effective teacher as knowledgeable, possessing a variety of personal characteristics, and engaging in specific teacher actions. (2) Preservice teachers' cognitive structure does not change after the completion of two microteaching experiences. There is some indication that changes in the content of their thinking arise following their microteachings. (3) There is no relationship between preservice teachers' cognitive structure and their ability to demonstrate effective teaching behaviors. However, qualitative analyses suggest a possible connection between the content of their thinking and their ability to teach effectively. Implications for education and future research are discussed.
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Mufute, Josphat. "The training of the non-specialist music teacher in Zimbabwe : a case study." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/565.
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The focus of this study thus was to establish if the training of teachers at a particular teachers’ training college in Zimbabwe is equipping students as future teachers with the required competences to realise the aims and objectives of the Zimbabwe Primary Music Syllabus. This study follows on the above-mentioned initial small-scale investigation conducted in 2002, which revealed that teachers lacked the required competences to implement this particular syllabus effectively (Mufute, 2002:16).
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Rademan, 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.
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Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.
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Fourie, Chantal. "Ondersoek na ‘n effektiewe metode van indiensopleiding vir Kuns en Kultuuronderwysers in Suid-Afrika." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2337.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.In 1994 the first democratic election took place in South Africa. Since then large initiatives have been undertaken on national level to redress the inequalities of the past. One of these areas where drastic transformation was needed, is the education system of the country. A National Qualifications Framework was created and Outcomes Based Education was used to implement a new curriculum. This required a total paradigm shift of teachers in terms of how they thought about education as well as changes in their teaching practice. The learning area Arts and Culture was included in the new curriculum to provide all learners with equal opportunities to take part in and enjoy the arts, cultural expression and conservation of heritage as a basic human right. The learning area however brought about unique problems for the teacher, as it is multidisciplinary and most teachers were not trained to facilitate it. Initially it was given to teachers who were specialists in one or the other of the arts disciplines, but these teachers progressively left the education system, and since then the learning area has fallen into the hands of nonspecialists. The Department of Education has launched various training opportunities to empower teachers, but without much success. Teachers remain inadequately qualified regarding subject knowledge and skills to bring the learning area to fruition and to reach the goals of the curriculum. In the process learners are deprived of important opportunities for experiences in the arts and teachers become increasingly demotivated. Thus, in South Africa there exists a dire need for effective in-service training and professional development of Arts and Culture teachers in order to empower them to take their place in the unlocking and transmission of the spiritual goods of the human race to our youth. This study investigates the true problems of Arts and Culture teachers in South Africa by placing the process of transformation in the education system after 1994 into context and viewing Outcomes Based Education, the learning area Arts and Culture and the development of teachers through the looking glass. Three forms of training for teachers are compared to try and find a possible best way to address these problems and to determine whether effective in-service training of Arts and Culture teachers leads to professional development, empowerment, a more positive vocational disposition and motivation. Training on a one-to-one basis lead by a specialist teacher emerges as the most effective alternative form of training.
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Dyal, Edith Irene Colvin. "An examination of factors which associate with a successful outcome in piano lessons /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169643.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).
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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.
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Chrysostomou, Smaragda. "Initial education of Greek music teachers : are there lessons to be learned from a study of the English system?" Thesis, University of Reading, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388408.
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Sivill, Jason R. "Two Phenomena in Contemporary Music Education: Mental Toughness and the Law." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7947.
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This collection of works involved examinations of two phenomena that currently impact music education in the United States and constitute challenges for both pre-service and in-service music educators. Article one is an exploration of college aged musicians, their experiences with critical commentary and stressful scenarios encountered in and through applied music studies, and the role that mental toughness might play in these experiences.
This study examined the perceptions of college level studio teachers and their students.
Results of the study indicated that significant differences in mental toughness scores existed between the studio teacher group and the students (as a whole) and between the studio teacher group and 5 of the 6 student groups. Significant negative correlations were found between students’ mental toughness scores and answers to three questions related to teacher criticism, student anxiety in lessons, and students’ frequency of hurt feelings following feedback about their performing. Article 2 examined the perceptions of in-service music educators regarding aspects of education law. Participants included music educators (N = 152; Mage = 41.7) from each of the 50 states whose teaching assignments occur primarily at the high school (grades 9 – 12) levels. Results indicated that these participants viewed their undergraduate teacher training programs, and graduate studies, as having included very low levels of legal content. Few of the participants indicated receiving additional education and training from a legal specialist, and taking part in sessions on legal topics offered by their school districts and professional associations. The legal issues receiving the greatest numbers of selections as having been experienced by the participants included 5 aspects of copyright law, religious music/lyrics in educational and performance material, and protection of student health (i.e., medical) information. The total number of legal issues selected was significantly correlated with the number of traveling groups (ensembles) with which the teachers were associated. Teachers of marching band indicated a greater number of total legal issues having been dealt with in their professional experience. And teachers of orchestra demonstrated fewer total numbers of legal issues experienced. In spite of the significant correlations, total expressions of relevant legal issues were largely unassociated with teachers of specific ensemble types.
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Mullins, William D. "A survey of piano teachers whose students have ADHD: Their training, experiences, and best practices." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500597748529337.
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Loring, Lauralee Rose. "Differences in intentions, beliefs, and feelings of two groups of elementary education majors concerning music education in the classroom." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/187487.
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The purpose of this quasi-experimental study was to identify the changes which occur for elementary education majors as they proceed through a course in music fundamentals for classroom teachers and a course which presents methods of teaching music. The subjects responded to several measuring instruments on the first day of classes in the music fundamentals course (the pretreatment group, five classes, N = 103) or on the last day of classes in the methods course (the posttreatment group, five classes, N = 93, all of whom had completed the prior fundamentals course). The study addressed one main question: Are there significant differences between the responses of the pretreatment and posttreatment groups to questions which consider intentions, beliefs, and feelings about the teaching of music? The analysis of data first considered several items bearing on the extent to which the two groups were a representative sample of the population of students enrolling in such classes during a three-year period and to what extent the two groups could be considered equivalent. The lack of significant differences in grade-point average, grade in school, and declared major suggested that the two groups could be considered quasi-random samples from the population of students enrolling in such classes. No significant differences were found between the two test groups in terms of GPA, age gender, and several items related to music background. Regarding the research question, the analysis of data identified significant differences between groups in three areas. Subjects in the posttreatment group: (1) intend to use more musical activities more frequently in their classrooms than those in the pretreatment group, (2) have more positive beliefs about their musical skills/knowledge and fewer negative ones than those in the pretreatment group, (3) have more positive feelings about their ability to provide music in the classroom than those in the pretreatment group.
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Lenzo, Terri Brown. "Online Professional Development in Preschool Settings: Music Education Training for Early Childhood Generalists." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416315624.
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De, Villiers Ronel. "A teacher training framework for music education in the Foundation Phase." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65434.
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Transformational changes have swept across the South African educational landscape in the post-apartheid era, and few disciplines have been as severely affected as music education (MusEd). The status of MusEd seems to have diminished while the government continually introduced modifications to national curricula, prompting Higher Education Institutions (HEIs) to scale down their MusEd teacher training operations. The focus on preparing specialist music teachers shifted towards the preparation of multitudes of generalist teachers lacking the required knowledge, skills and confidence to effectively teach MusEd for learners in the Foundation Phase (FP) at primary schools. The aim of the study is to determine how an effective teacher training framework for MusEd in the FP can be developed, and which key elements should be included in this endeavour. The research explores the various forces (contextual, institutional, biographical and programmatic) that influence Higher Education practices and programme content in the preparation of MusEd student teachers. The study achieves this aim through examining the perspectives of current MusEd lecturers on the teaching and learning methods and practical activities in MusEd programmes at their various HEIs, their experiences of push and pull forces in their working environments, and their reactions to transformational directives. Empirical data was obtained through interviews with lecturers and experts, and document analyses. The study finds that teacher training programmes will benefit when MusEd lecturers embrace and apply the principles of transformation and multiculturalism to their own programmes. Elements of the Western Classical approach to MusEd may be retained but indigenous African and global perspectives need to be integrated and advanced, which will promote MusEd as a developer of social cohesion and an agent for redressing imbalances of the political past. Theoretical music knowledge needs to be integrated with practical activities to cultivate a communal sense of students and learners "musicing" together. Recommendations for further studies include investigations into improvements in future MusEd environments, and collaborative efforts to raise the profile of MusEd.Thesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
Unrestricted
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Cannon, Rodney M. "Music student teaching in Texas a Delphi study of issues in the new millennium /." Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/cannon%5Frodney/index.htm.
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West, Justin J. "A Grounded Theory of Music Teacher Large Scale Conference Professional Development Implementation: Processes of Convergence." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248474/.
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The purpose of this study was to understand the process of music teacher large-scale conference professional development (PD) implementation (i.e., the integration of conference-derived learnings into classroom practice). The context of this investigation was two national music conferences, the Midwest Clinic and the National Association for Music Education National In-Service Conference, and one state music conference, the Texas Music Educators Association Clinic/Convention. Using purposive maximum variation sampling, active music teachers (n = 32) who each attended one of these conferences were recruited. Data collection occurred in a series of three participant interview phases, staggered according to which conference participants attended and when each conference was held. Twenty-eight participants were interviewed twice, and four participants were interviewed once, yielding a total of 60 interview transcripts, which were then openly, axially, and selectively coded in accordance to grounded theory method. The principal finding, the cycle of music teacher large scale conference professional development implementation (C-MTPDI), revealed an implementation process in three phases. First, the consideration phase (before/during conference) entailed needs assessment, direct engagement, change articulation, and, for some participants, deterrent factors/contingencies. Second, the realization phase (immediate post-conference) included translation, integration, and recalibration. Third, and finally, the decision phase (3-5 weeks post-conference) included evaluation. The core category, or main theme of the research, was seeking convergence: relevance, practicability, and impact. Contextual conditions included PD worldview and PD policy environment. Avenues for future scholarship include clarifying differences in design and effectiveness among and within music-specific PD models, more fully understanding the status of large-scale conference PD in music education and its effect on practice, and theorizing PD implementation in non-conference contexts. Practical implications include developing new theory-aligned PD policies, putting into place more robust infrastructures of implementation support for large-scale conference attendees, addressing PD funding inequities between teachers in music and non-music disciplines, and helping practitioners to newly conceive "one-off" PD events (e.g., large-scale conferences) as sustainable investments in long-range professional growth.
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Drummond, Brendan. "The classroom music teacher - an uncertain profession? : the Northern Ireland perspective." Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267683.
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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
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Brewer, Heather Jean Mary. "Teachers' perspectives on training to teach class music to children in the age range 7 to 11 years in England." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414900.
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Welch, Lee Arthur. "Music teacher perceptions of a model of technology training and support in Virginia." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11083.
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Thesis (D.M.A.)--Boston UniversityA plethora of technology resources currently exists for the music classroom of the twenty-first century, including digital audio and video, music software, electronic instruments, Web 2.0 tools and more. Research shows a strong need for professional development for teachers to properly implement and integrate instructional technology resources into the music classroom (Peters, 1984; see also Williams, 1992). The Instructional Technology Resource Teacher (ITRT) is a specific role in Virginia that provides professional development to teachers for technology integration. The ITRT position is mandated by the Commonwealth of Virginia's Standards of Quality. The purpose of this study was to determine whether music teachers perceived the ITRT role as an effective means of professional development for the integration of instructional technologies in the delivery of music instruction. An analysis of the data collected for this study measured whether periodic interactions with the ITRT correlated with changes in music teacher comfort levels with technology use. Furthermore, this study examined whether the frequency or extent of the interactions with the ITRT influenced changes in music classroom practice of technology integration. The research questions that guided this study were: 1. Does technology integration training/support provided by Instructional Technology Resource Teachers (ITRTs) influence teachers' degree of comfort with using technology for music education? 2. Does contact with the ITRT influence teachers' tendency to engage in certain technology-based activities/behaviors? 3. Does the frequency of contact with the ITRT increase teachers' likelihood of integrating technology in their classrooms? 4. What elements of technology-based instruction are most and least positively affected by the ITRT training/support? Data were collected using multiple administrations of an online survey. Data from this study provided positive, and often significant results across each of the four questions researched. Beginning with music teachers' degree of comfort with using technology for instruction through specific technology-based activities, results provided new and promising data in support of the efficacy of this training/support role, one that is targeted at increasing those very factors. Results established that participants perceived that the ITRT role positively affected their comfort with technology use, as well as their increased likelihood of using technology for instruction.
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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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Fant, Gregory Robert 1960. "An investigation of the relationships between undergraduate music education students' early field experience and student teaching performance." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290634.
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This correlational study examined the relationships between undergraduate music education students' early field experiences and student teaching performance. Subjects were 40 music student teachers from eleven universities. Student teaching performance was determined from video samples using two teacher effectiveness forms, the Rehearsal Effectiveness Scale and the Survey of Teaching Effectiveness. Two independent judges were used and interjudge reliability was found to be .73 on the Survey of Teaching Effectiveness and .69 on the Rehearsal Effectiveness Scale. Reliability between forms is .88. Subjects were interviewed to collect data on both curricular and non-curricular undergraduate field experiences. These data were correlated with each subject's score on
the teacher effectiveness forms. No significant correlations were found between total early field experience and student teaching performance. Significant correlations were found between early field experiences with feedback and student teaching performance (r = .439 and .507; p < .01). A significant negative correlation was found between early field experiences without feedback and student teaching performance (r = -.316, p < .047). No significant correlations were found to exist between the non-curricular index and student teaching performance. Based on their average student teaching performance ranking, five subjects were identified as a subsample for closer analysis. Data on dieir backgrounds, high school experiences, curricular experiences, and non-curricular experiences is presented. Conclusions include the following: 1. Early field experience widi feedback and peer microteaching are positively related to student teaching performance. 2. Early field experience regardless of feedback, non-curricular experience, degree type and student background are not related to student teaching performance. 3. Early field experience without feedback has a negative relationship with student teaching performance. 4. A methods/conducting lab is an effective setting for microteaching experiences. Implications for education and future research are presented.
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Taylor, Helen Vivienne. "Not musical enough : primary school student teachers' 'situated self referencing' of a musical self for teaching." Thesis, Northumbria University, 2008. http://nrl.northumbria.ac.uk/2791/.
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This narrative study into music and initial teacher education explored seven primary student teachers' stories of 'musical self'. They identified themselves as `not musical' at the start of their journey. The complexities of their personal and professional stories were explored examining culturally and socially rooted assumptions within their narratives. Research into student teachers' `musical self' is limited. The lenses of symbolic and interpretive interactionism and social constructionism supported analyses of students' co-construction of a teaching 'musical self'. Using Kuhn's (1962) paradigm theory, literature on music education's philosophies, principles and practices throughout the twentieth century were examined. This research built chronological biographies of students' contextually constructed teaching 'musical selves'. The students' subject and pedagogic knowledge development was tracked informing the in-depth interviews. The analyses of their stories were through thematic induction. Their own music making and successes with children did not appear to change their self labelling. The transactional self was underpinned by situated self referencing during interactions that created resilience in the students' ability to maintain 'not musical' labels. Strategies of self handicapping (Rhodewalt and Tragakis 2002) and self protection (Higgins 1999, Forgas and Williams 2002c) were regularly employed by the students. My initial assumptions of students' lack of musical expertise and experience proved inadequate as their musical backgrounds were more complex. The hegemony of Western High Art Music upon music education practices and perceptions proved influential through socially and culturally constructed norms for judging musical value and musicianship. The three key themes were durability of self labelling as 'not musical', WHAM effect upon individual conceptions of musical self and impact of various contexts upon the musical self. Emotional experiences and approving/disapproving atmospheres of authoritative people created durable labelling of the self as 'not musical'. Contextually based comparisons and expectations impacted negatively on their perceptions. Students separated their teaching and personal musical selves creating a false consciousness about 'musical self'. Students concluded they were 'not musical enough' to teach rather than 'not musical at all'.
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Newton, James Lyle. "Changes in the teaching behaviors of a select group of teachers trained in the Kodály method of music education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq24638.pdf.
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Murphy, Vanissa B. (Vanissa Braswell). "An Examination of the Presence of Schön's Concept of "Reflective Conversation" as a Defining Component in the Applied Studio Music Lesson." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279391/.
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The purpose of this study was to examine the presence of Schön's concept of reflective conversation as a defining component in the applied studio music lesson. The research problems were (1) to determine the presence of complete and incomplete reflective conversations; (2) to determine the verbally exhibited knowledge base within complete conversations in relationship to conversation length; and (3) to establish an instructional profile of stable behaviors based on reflective conversation as a distinguishing characteristic among selected teachers. Videotapes of twenty-six applied studio music lessons of thirteen university teachers were analyzed according to problem solving, on-the-spot experimentation, and evaluation. An observation form was developed and was a reliable tool to collect information concerning number and type of reflective conversations, conversation length, and the teachers' verbally demonstrated knowledge base. Knowledge base was obtained by using the procedural model of Flanagan's critical incident technique. Reflective conversations existed and were a distinguishing characteristic of the teachers. With the exception of two teachers, a stable use of both number and length of reflective conversations, and knowledge base areas, was found. A discernible difference in the teachers' knowledge base within conversation length existed, and thus established instructional profiles for the teachers. Complete reflective conversations ranged from one-sixth to over half of total lesson time. Within instrument categories, teachers generally revealed a dissimilar knowledge usage. Some teachers exhibited fast-paced problem solving, in one minute or less, and named one or two knowledge areas. Others had longer conversations, up to five minutes, with more deliberate problem solving, and as many as twelve knowledge areas named. Results indicated that a practically significant situation can be examined by establishing teacher instructional profiles based upon reflective conversation. Methods employed in this study could be used to document teacher problem-solving and teacher knowledge in a variety of settings.
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Henriques, Wasti Silvério Ciszevski [UNESP]. "A educação musical em cursos de pedagogia do Estado de São Paulo." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/95164.
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Universidade Estadual Paulista (UNESP)
Esta pesquisa buscou conhecer a situação atual da Educação Musical em cursos de Pedagogia do Estado de São Paulo, a fim de identificar suas propostas de ensino desse conteúdo, bem como seus desafios e necessidades. A partir da obrigatoriedade do Ensino de Música na Educação Básica do País (Lei nº 11.769/2008), torna-se urgente investir na formação de professores, para atuarem em Escolas Regulares, junto aos alunos, problemática que motivou o desenvolvimento deste trabalho. Realizou-se revisão bibliográfica do assunto, de pesquisadores que estudam o mesmo tema em outras regiões do Brasil, a partir de diferentes enfoques. Construiu-se, também, um quadro geral acerca do espaço destinado às disciplinas Arte e Música em 260 cursos de Pedagogia do Estado de São Paulo. A análise dos dados colhidos mostrou que a Música é pouco presente nesses cursos, aparecendo como disciplina específica apenas em 27 deles. Observou-se, também, que ela não tem tido tratamento autônomo, estando, muitas vezes, subordinada a outras áreas do conhecimento. A pesquisa foi de caráter qualitativo e configurou-se como um estudo multicasos, realizado em cinco cursos de Pedagogia paulistas, que oferecem ensino dessa disciplina em seus currículos. A coleta de dados foi realizada por meio de pesquisa documental eletrônica, observação não-participante das aulas de Música e questionários abertos com coordenadores, professores e alunos. Por meio da análise da opinião dos participantes da pesquisa, tendo como referencial teórico os José Carlos Libâneo e Cipriano Carlos Luckesi, verificou-se a necessidade de rever as metodologias de ensino desses cursos, no que se refere aos requisitos para a formação adequada de seus professores, espaços e finalidades. O trabalho também aponta para aspectos fundamentais à formação musical de alunos de Pedagogia, o que pode contribuir para o avanço da pesquisa na área.
This study sought to know the present situation of the musical training in Pedagogy courses in São Paulo, in order to verify their proposal, challenges and necessities related to the musical training of their graduates. Law 11.769/2008 makes music education obligatory in basic education in Brazil. Given this fact, it becomes imperative that there are qualified teachers ready to act in the musical development of basic education students, problematic that stimulated the accomplishment of this research. Starting with a bibliographical review, based on researches and studies on the same topic concentrating in others regions of Brazil, this study includes different approaches. It was constructed a general panorama about the space designed to the Art and Music discipline in 260 Pedagogy Courses in São Paulo. As a result of the analysis on the collected data, it was verified that Music is not very frequent in the courses, appearing as a specific discipline only in 27 of them. It was also observed that it doesn´t have independent treatment, being, many times, subordinated to other areas of knowledge. This is a qualitative study, a multicase study, and data collection was realized by the research of documents, non-participant observations and by surveys among course coordinators, teachers and graduating students from five courses of Pedagogy in São Paulo. By the analysis of the participants´ opinion on the research, which was based on the texts by José Carlos Libâneo and Cipriano Carlos Luckesi, it was verified the necessities of reviewing the courses methodologies education, related to appropriate teacher training, spaces and purposes. This study also points to fundamental aspects related to Pedagogy students musical training. It is hoped it can contribute in some aspects for the research advance in Music Education. Key-
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Dees, Theresa A. "An integrated approach to music and the language arts for the sixth grade." CSUSB ScholarWorks, 1989. https://scholarworks.lib.csusb.edu/etd-project/437.
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Treganza, Jeffrey. "Professional training of singers and teachers of singing a comparative study of selected vocal performance and pedagogy programs in the United States of America and the Federal Republic of Germany." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/985669837/04.
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Stone, Helen. "Specialist teachers and curriculum reform in a Western Australian primary school in 2002 : a comparative study of specialist music, health and physical education, and languages-other-than-English teaching professionals /." Stone, Helen (2006) Specialist teachers and curriculum reform in a Western Australian primary school in 2002: a comparative study of specialist music, health and physical education, and languages-other-than-English teaching professionals. Masters by Research thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/350/.
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This thesis details research on the first phase of curriculum reform (1999-2004) in a government primary school in Western Australia. The purpose of the study was to examine what progress had been made with the implementation of the Curriculum Framework (1998). The research focussed on Music, Health and Physical Education, and Languages Other than English as specialist teachers working with the Curriculum Framework (1998). Teachers and school administrators, as frontline practitioners, considered their experiences and perceptions of daily practice and provided their perspectives on curriculum reform.
The hypothesis formulated for the study was that with the introduction of the Curriculum Framework (1998) the delivery of these three subjects could be further improved. This study argues that successful curriculum performance of these three subjects traditionally considered 'specialist programs' may be more fully supported by becoming aware of the forces influencing Australian curriculum discourse and delivery. Subject knowledge endorsement in this study refers to the transfer of valued knowledge in Western Australian educational systems. It is proposed that if teaching professionals articulated the substance of their educational beliefs and experiences with regard to subject knowledge meaning, place and value, curriculum delivery in primary schools may progress more effectively. Positive learning experiences for all students can be provided through the encouragement of communication and collegiality together with relevant and accessible professional development. These measures can also be supported by mounting whole-school primary programs that engage with beliefs about Music, Health and Physical Education, and Languages Other Than English through collaborative networks and learning communities. Accordingly, curriculum delivery can come within reach of the seamless curriculum anticipated by reform (Curriculum Framework, 1998:6-7).
In this qualitative interview study, the frontline participants included generalist teachers, specialist teachers and school administrators. These educational practitioners were asked to participate in an in-depth, semi-structured discussion that explored their perceptions of specialist teaching and knowledge while employed at Deep Sea Primary School in 2002. They teachers also commented on how these perceptions may be linked to their experiences of socially constructed and established notions of valued knowledge.
The findings of this study indicated that the progressive implementation of these three subjects or specialist's areas were characterised by subtle historical, economic, political and social forces. This thesis suggests that, these largely obscured external forces together with individual yet, taken for granted perceptions of what is perceived as valuable knowledge work together to position curriculum rhetoric and curriculum enactment that reflect established perceptions of the knowledge hierarchy. Teachers and administrators at the school often operated within the structures and meanings of conventional teaching practice of subject knowledge as determined by dominant culture in Australia. The findings indicated that school culture in a time of reform re-traditionalised hierarchical patterns of subject knowledge organisation and evaluation. Accordingly, current subject knowledge endorsement in terms of specialist teaching often worked to the benefit of established power relationships typical of post-industrial market economy in Australia.
The findings also indicated that issues pertaining to curriculum prioritisation were influenced by institutional, group and individual experiences of subject specialist knowledge. Poor perceptions of these three subjects could also be generated by experiencing inflexible and inadequate yet established funding and resource patterns in educational systems. Frontline teachers, their school-based roles and responsibilities attached to the teaching and learning of the three specialist areas were typified by rigid school organisation and job structures together with condensed teaching time and community backing.
This thesis argues that progressive, outcomes education requires an articulate and supportive school culture, more funding and the genuine maintenance of quality Music, Health and Physical Education and Language Other Than English teachers. In addition, curriculum implementation would benefit from the promotion of constructivist-orientated student activities within specialist programs.
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Doyle, Jennifer Lee. "Music Teacher Perceptions of Issues and Problems in Urban Elementary Schools." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/185.
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The purpose of this study was to examine the perceptions of music teachers in urban elementary schools. Title-I public elementary schools (N = 135) in Miami-Dade County were surveyed for demographic information, and fifty-six of the music teachers from those schools participated in the survey designed for this study. The survey was intended to accumulate data regarding the independent variables of student demographics, teacher demographics, student/teacher demographic differences, teacher training, and teacher support; the dependent variables examined were teacher attitudes about urban elementary music teaching and teacher expectations of their urban elementary music students. Results demonstrated that demographic factors were correlated, and most of the teachers mismatched demographically with their students. Professional support and the percentage of students receiving free or reduced lunch correlated with attitudes. The variables did not correlate with expectations, but because of a strong correlation with attitudes, expectations may have been indirectly affected by support and the percentage of students receiving free/reduced lunch. Support was the single predictor for attitudes, and when computed as an independent variable, attitudes were the sole predictor for expectations. No significant main effects or interactions between the variables were found.
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Buterbaugh, Walz Ivy. "Training the 21st Century Voice Teacher: An Overview and Curriculum Survey of the Undergraduate Experience." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1394725201.
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Bernard, Cara Faith. "Ensemble educators, administrators, and evaluation| support, survival, and navigating change in a high-stakes environment." Thesis, Teachers College, Columbia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3704455.
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This study examined the ways in which mid-career ensemble directors and administrators (some with musical and some without musical background) described the effect of implementing standardized teacher evaluations on their practices and perspectives. Participants described the application and critique of the evaluation tools, particularly the Danielson Framework for Teaching, on their process and pedagogy. There is little information on how in-service teachers—specifically ensemble directors—locate themselves in their practice and how they articulate their process and pedagogy. There is also little literature on mid-career teachers, both in identity formation and self-reflection. Mid-career ensemble educators who have an established professional identity may find imbalance in light of the new policies, and have to negotiate and manage the contemporary evaluation systems predominantly designed for English and Math. Further, if supervisors do not understand what learning and assessment processes look like in a middle or high school band, orchestra, or chorus setting, they might try to evaluate with criteria that apply to a social studies or chemistry class. Without critically reflecting on how these evaluations affect pedagogy and process, educators may fall into routines of trying to reach a particular benchmark, instead of imagining ways to engage with their students.
A phenomenological interview approach was used to solicit the participants’ voices and to allow their narratives to describe their lived experiences with teacher evaluation in ensembles. The participants’ personal and shared narratives help to better explain and navigate the changing waves of educational policy. Data collection involved interviews and document review of the contemporary evaluation systems, in particular, the Danielson Framework for Teaching. Data analysis uncovered themes of conflicting identities in the classroom, misaligned interpretations of student-centered learning, as well as discourses based on location and the privileges associated with place. Teachers negotiated their performer/conductor and educator selves; administrators negotiated their leader and educator selves.
This study found that the Danielson evaluative tool, when poorly implemented in an ensemble setting, is faulted and lacks content validity. Additionally, while ensembles function rather traditionally in public schools, embracing a more open rehearsal pedagogy with conductor as facilitator may help to assure more student-centered learning.
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Walstrom, Audrey Elizabeth. "Use of Terminology and the Effect of Training on Auditory-Perceptual Ratings of Speaking Voice by Expert Teachers of Singing." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493743516136888.
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Henriques, Wasti Silvério Ciszevski. "A educação musical em cursos de pedagogia do Estado de São Paulo /." São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/95164.
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Orientador: Marisa Trench de Oliveira FonterradaBanca: Ilza Zenker Leme Joly
Banca: Iveta Maria Borges Ávila Fernandes
Resumo: Esta pesquisa buscou conhecer a situação atual da Educação Musical em cursos de Pedagogia do Estado de São Paulo, a fim de identificar suas propostas de ensino desse conteúdo, bem como seus desafios e necessidades. A partir da obrigatoriedade do Ensino de Música na Educação Básica do País (Lei nº 11.769/2008), torna-se urgente investir na formação de professores, para atuarem em Escolas Regulares, junto aos alunos, problemática que motivou o desenvolvimento deste trabalho. Realizou-se revisão bibliográfica do assunto, de pesquisadores que estudam o mesmo tema em outras regiões do Brasil, a partir de diferentes enfoques. Construiu-se, também, um quadro geral acerca do espaço destinado às disciplinas Arte e Música em 260 cursos de Pedagogia do Estado de São Paulo. A análise dos dados colhidos mostrou que a Música é pouco presente nesses cursos, aparecendo como disciplina específica apenas em 27 deles. Observou-se, também, que ela não tem tido tratamento autônomo, estando, muitas vezes, subordinada a outras áreas do conhecimento. A pesquisa foi de caráter qualitativo e configurou-se como um estudo multicasos, realizado em cinco cursos de Pedagogia paulistas, que oferecem ensino dessa disciplina em seus currículos. A coleta de dados foi realizada por meio de pesquisa documental eletrônica, observação não-participante das aulas de Música e questionários abertos com coordenadores, professores e alunos. Por meio da análise da opinião dos participantes da pesquisa, tendo como referencial teórico os José Carlos Libâneo e Cipriano Carlos Luckesi, verificou-se a necessidade de rever as metodologias de ensino desses cursos, no que se refere aos requisitos para a formação adequada de seus professores, espaços e finalidades. O trabalho também aponta para aspectos fundamentais à formação musical de alunos de Pedagogia, o que pode contribuir para o avanço da pesquisa na área.
Abstract: This study sought to know the present situation of the musical training in Pedagogy courses in São Paulo, in order to verify their proposal, challenges and necessities related to the musical training of their graduates. Law 11.769/2008 makes music education obligatory in basic education in Brazil. Given this fact, it becomes imperative that there are qualified teachers ready to act in the musical development of basic education students, problematic that stimulated the accomplishment of this research. Starting with a bibliographical review, based on researches and studies on the same topic concentrating in others regions of Brazil, this study includes different approaches. It was constructed a general panorama about the space designed to the Art and Music discipline in 260 Pedagogy Courses in São Paulo. As a result of the analysis on the collected data, it was verified that Music is not very frequent in the courses, appearing as a specific discipline only in 27 of them. It was also observed that it doesn't have independent treatment, being, many times, subordinated to other areas of knowledge. This is a qualitative study, a multicase study, and data collection was realized by the research of documents, non-participant observations and by surveys among course coordinators, teachers and graduating students from five courses of Pedagogy in São Paulo. By the analysis of the participants' opinion on the research, which was based on the texts by José Carlos Libâneo and Cipriano Carlos Luckesi, it was verified the necessities of reviewing the courses methodologies education, related to appropriate teacher training, spaces and purposes. This study also points to fundamental aspects related to Pedagogy students musical training. It is hoped it can contribute in some aspects for the research advance in Music Education. Key-
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Loveless, 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.
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Previous 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.
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Carbajo, Martínez Concha. "El perfil profesional del docente de música de educación primaria: autopercepción de competencias profesionales y la práctica de aula." Doctoral thesis, Universidad de Murcia, 2009. http://hdl.handle.net/10803/11079.
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El objetivo de esta investigación es elaborar el perfil profesional del docente de música de Educación Primaria de la Comunidad Autónoma de la Región de Murcia. Para ello, esta tesis aporta un modelo de análisis del perfil professional basado en múltiples variables agrupadas en el conjunto Pensamiento-Contexto-Acción. Se utiliza un Cuestionario para la recogida de datos. La participación voluntaria en este estudio pionero en la región de Murcia representa el sesenta por ciento de la muestra. Los resultados obtenidos permiten identificar las fortalezas y debilidades de este colectivo de especialistas. Entre las primeras, destaca la elevada confianza que perciben tener en su preparación en competencias docentes y musicales, así como en su compromiso personal con la profesión elegida. El punto débil más significativo es la ausencia de colegialidad. La tesis finaliza indicando propuestas de formación dirigidas a los responsables de la política educativa regional y sugiriendo temas de investigación para profundizar en el conocimiento del colectivo.The aim of this research is to elaborate a professional profile of primary school music teachers in the region of Murcia. This thesis develops an analytical model of that professional profile based on multiple variables grouped in the Thought-Context-Action framework. Data are collected with a questionnaire. The voluntary response rate in this pioneer study in Murcia reached sixty per cent of the representative sample. The findings identify the strengths and weaknesses of such specialised group of music teachers. Some of the strengths are a high level of perceived self-confidence in their training and their teaching and music abilities as well as their professional commitment. The most significant weakness is the absence of collegiality. The thesis concludes with some proposals for the authorities responsible for education policy in the region of Murcia and suggestions for research topics to further the knowledge about primary school music teachers.
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Lima, Hebe de Medeiros. "Transdisciplinary teacher training: a proposal for curriculum of the undergraduate Courses in Music of UECE and UFC of Fortaleza-CE." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11512.
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nÃo hÃThe objective of this research was to analyze the process of capacitation of musical educators with the perspective of a transdisciplinary pedagogical approach, taking into account the curricular matrix of the courses of musical habilitation in the Federal and State Public Universities in Fortaleza. To these considerations we discus the work of authors that deal with transdisciplinary proposals in curricula, such as Morin (2000), Nicolescu (2000), LibÃneo (2005), Moraes (2008), and Nascimento (2008). The methodologyis qualitative, based on multiple case studies, using the fundamentals of Bogdan and Biklen (1994), GÃmes (1996), Stake (1998), Andrà (2005), Peres e Santos (2005), Yin (2005), Beaud e Weber (2007) e Gil (2009).The data was collected from the Political Pedagogical Projects of the above mentioned Musical Courses, as well as from interviews with the teachers that worked in the development of these curricular matrixes. The results show some possibilities and applications of transdisciplinary proposals in curricula, and its implications in the formations of musical educators.
Esta pesquisa teve como objetivo analisar o processo de formaÃÃo do educador musical na perspectiva de uma proposta pedagÃgica transdisciplinar, levando em consideraÃÃo a matriz curricular dos Cursos de Licenciatura em MÃsica nas Universidades PÃblicas, Estadual e Federal de Fortaleza no CearÃ.Para estas apreciaÃÃes recorremos aos autores que discutem propostas transdisciplinares no currÃculo como Morin (2000), Nicolescu (2000), LibÃneo (2005), Moraes (2008) e Nascimento (2008). A metodologia à de abordagem qualitativa com delineamento em estudo de casos mÃltiplos amparada nas fundamentaÃÃes de Bogdan e Biklen (1994),GÃmez (1996), Stake (1998), Andrà (2005), Peres e Santos (2005), Yin (2005), Beaud e Weber (2007) e Gil (2009). Os dados foram coletados a partir dos Projetos PolÃticos PedagÃgicos dos Cursos de Licenciatura em MÃsica das Universidades PÃblicas, Estadual e Federal em Fortaleza e das entrevistas com professores que participaram do processo de criaÃÃo e de formulaÃÃo da matriz curricular. Os resultados mostram algumas possibilidades e aplicabilidades das propostas transdisciplinares nos currÃculos e seus desdobramentos na formaÃÃo dos educadores musicais
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Lynch, Michael Anthony. "The education and training of secondary school music teachers in England and Wales 1945-1975 with particular reference to the work of the University of Leeds Institute of Education." Thesis, University of Reading, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506123.
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Demazo, Marcio José. "LASTRO OU PESO-MORTO? UM ESTUDO SOBRE ARTE-EDUCADORES E A RELEVÂNCIA DA DISCIPLINA EDUCAÇÃO ARTÍSTICA EM SUAS TRAJETÓRIAS FORMATIVAS." Universidade Metodista de São Paulo, 2011. http://tede.metodista.br/jspui/handle/tede/1188.
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Previous issue date: 2011-04-14The sentence of an educator: "conductor, music has changed the life of this boy" was the element that prompted the development of this research. The questions that were raised upon this consideration contemplate aspects related to art education in Brazilian schools, collected from official data showing a reduced number of art educators face the law concerning mandatory teaching of music in all basic education since 2011 by the Law 11.769/08. The research was developed on the suspicion that teaching art in Brazilian schools has proved insufficient regarding the promotion of the student in relation to art making, culminating in low interest in the arts discipline, reflecting later on the formation of a small number of art educators who probably had its beginning of art education progress outside school. The purpose of this research is to assess the relevance of the arts discipline or arts education in the trajectory of the educational process of art educators in music. This research looks at the work of Barbosa (2008) and Snyders (2008) in order to understand the concepts inherent in the teaching of art, music, and the historical process of artistic language in Brazil. Aiming to raise items for the research were carried out interviews with art educators, with reference theoretical at Nóvoa and Finger (2010) also Bosi (1987). Chapter I presents considerations on the artistic and historical development of art education in Brazil. Chapter II deals with practical experiences related to aesthetic education. Chapter III explains the theoretical background on the methodology used. Chapter IV presents the life stories of three art teachers in music, while Chapter V presents the appropriate conclusions based on interviews with art educators.
A frase de uma educadora: maestro a música mudou a vida desse menino foi o elemento que instigou o desenvolvimento da presente pesquisa. Os questionamentos que se seguem a partir dessa constatação abordaram os aspectos inerentes ao ensino da arte nas escolas brasileiras, angariados a partir de dados oficiais que apresentam um reduzido número de arte-educadores frente a legislação pertinente à obrigatoriedade do ensino da música em toda a educação básica a partir de 2011 através da Lei 11.769/08. A pesquisa se desenvolveu diante da suspeita que o ensino da arte nas escolas brasileiras tem se mostrado insuficiente no que diz respeito a promoção do educando em relação ao fazer artístico, culminando com o baixo interesse pela disciplina artes, refletindo posteriormente na formação de um número reduzido de arte-educadores que provavelmente tiveram sua iniciação artística fora do ambiente escolar. Sendo assim interessou a esta pesquisa aferir a relevância da disciplina artes ou educação artística na trajetória formativa dos arte-educadores em música. A pesquisa utilizou como referencial teórico os dados expostos em Barbosa (2008) e Snyders (2008) visando compreender as concepções inerentes ao ensino da arte, da música, e o processo histórico da linguagem artística no Brasil. Visando angariar elementos para a pesquisa foram desenvolvidas entrevistas com arte-educadores, tendo como referência teórica Nóvoa e Finger (2010) além de Bosi (1987). O capítulo I apresenta considerações sobre o fazer artístico, e o desenvolvimento histórico do ensino da arte no Brasil. O capítulo II trata de experiências práticas relacionadas à educação estética. O capítulo III explicita a fundamentação teórica sobre a metodologia utilizada. O capítulo IV apresenta as histórias de vida de três arte-educadores em música, enquanto o capítulo V expõe as devidas conclusões fundamentadas nas entrevistas com os arte-educadores.
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Kimura, Verônica. "A formação e as práticas de ensino de professores de canto popular : perspectivas de professores da cidade de Florianópolis - SC." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/1563.
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Previous issue date: 2015-04-23Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research aims to understand the process of training and the teaching practices of popular singing teachers who have been working in Florianópolis, Santa Catarina. The specific purposes of this study are to define and contextualize the popular singing and teaching, understanding the process of training of the popular singing teachers and identifying their teaching practices. As a qualitative research, the investigation draws on a theoretical and methodological framework based on a model of multiple cases. The analytical procedures used in this study comprised data collection semi-structured interviews and observations. The results point to, in the researched context, the trainning process was built from the articulation of knowledges acquired through informal learning, academic qualification and artistic practice. The teaching practices show coherense with the trainning related by the interlocutors and show relevant particularities to popular singing teaching.
Esta dissertação teve como objetivo geral compreender o processo de formação e as práticas de ensino de professoras de canto popular que atuam na cidade de Florianópolis, Santa Catarina. Os objetivos específicos foram delimitar e contextualizar o canto popular e seu ensino, compreender o processo de formação de professores de canto popular e identificar práticas de ensino de professores de canto popular. Situando-se no âmbito da pesquisa qualitativa sob o modelo de estudo de casos múltiplos, esta pesquisa adotou como procedimentos de coleta de dados entrevistas semiestruturadas e observações. Os resultados apontaram que, no contexto pesquisado, o processo de formação foi construído a partir da articulação de saberes adquiridos por meio de aprendizagem informal, formação acadêmica e prática artística. As práticas de ensino mostraram-se coerentes com o processo de formação relatado pelas interlocutoras e evidenciaram particularidades pertinentes ao ensino de canto popular.
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Corley, 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/.
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Attrition rates among students in music teacher training programs have contributed to a shortage of qualified music teachers for the nation's schools. The purpose of this study was to investigate the predictive relationship of academic variables in three different learning environments and the intent of a select population of music education majors to leave the degree program. The study drew upon the work of Tinto, Bean and Astin to form a theoretical foundation for examining variables unique to student withdrawal from the music education degree plan. Variables were examined within the context of three different learning environments: (1) applied lessons, (2) ensembles and (3) non-performance courses. Participants were 95 freshmen and sophomore music education majors at a public university who were enrolled in the music education degree program during the spring semester, 2002. Data included participant responses on the Music Student Inventory (MSI), a questionnaire developed specifically for the study, and grade data from university records. Independent variables in the study included participants' perceptions of (1) Ensemble experiences, (2) Applied lesson experiences, (3) Non-performance music course experiences, (3) Course requirements, and (4) Performance growth. Additional variables included: (1) Ensemble placement, (2) Course grades for music theory, applied lessons and aural skills, and (3) cumulative grade point averages. Gender interactions were also examined. The dependent variable in the study was intent to withdraw from the music education program. Data were analyzed using a binary logistic regression procedure. Results of the analysis indicated that none of the variables tested were statistically significant predictors of subjects' intentions to withdraw from the music education degree program. Gender interactions were not evident among the variables. Although statistically insignificant, the strongest predictor of the variables represented by questionnaire responses was lesson experiences. The ana ysis of course grades for music theory, applied lessons and aural skills failed to produce a statistically significant main effect, but applied lesson grades produced the strongest effect in the model. Results of the study suggest that students' intentions to withdraw from the music education program are related to variables other than those representing the academic component of the music education program.
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Araújo, Gabriela da Ros de. "FORMAÇÃO CONTINUADA EM MÚSICA: RECONSTRUINDO CONHECIMENTOS MUSICAIS E PEDAGÓGICO-MUSICAIS COM PROFESSORAS UNIDOCENTES." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/7107.
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This research is part of the line Education and Arts (LP4) Program Graduate Education / UFSM and integrates the research group FAPEM: training, action and research in music education (CNPq). The musical training of teachers in early childhood education has been the focus of research, due to the possibility that significant work to develop a professional music with children. Since the approval and enforcement of Law No. 11.769/08, there was an increase in supply and demand for continuing education courses in music, in order to expand and qualify the practice in the school and to enforce that law. Whereas continuing education can be a special area of research on the learning of teaching, this study aimed to investigate how to represent and reconstruct the knowledge of music and educational music-teacher teachers in early childhood education from an area of continuing education organized in school. The weekly educational meetings were used for the development of continuing education activities that sought to know which knowledge of music and music-teaching can be mobilized in a formative space like this, and understand the group's role in each teacher's professional development. Eight meetings were held with the group of teachers EMEI Borges, which addressed specific issues of teaching music in kindergarten. Qualitative, this research used as methodological resources focus group discussions, story-interview and impressions of the researcher on the development of continuing education and teachers. Based on studies of Ferry (2004), Josso (2010), Mizukami (2008), Mizukami et al (2002), Pivetta and Isaia (2009) and Bolzan (2009), we felt an awareness of teachers about each function that develops in the learning process of teaching. From this moment, the group constitutes a space of exchange and shared learning. In addition, the teachers have advanced the understanding of music as a specific area of knowledge and began to develop more practical musical intentionality and safety with children.A presente pesquisa faz parte da linha Educação e Artes (LP4), do Programa de Pós-Graduação em Educação/UFSM, e integra o grupo de pesquisa FAPEM: formação, ação e pesquisa em educação musical (CNPq). A formação musical de professores unidocentes tem sido foco de pesquisas, em função da possibilidade desse profissional desenvolver um trabalho significativo de música com as crianças. A partir da aprovação e efetivação da lei n° 11.769/08, houve um aumento na oferta e na procura por cursos de formação continuada em música, no intuito de ampliar e qualificar as práticas presentes na escola e de se fazer cumprir a referida lei. Considerando que a formação continuada pode ser um espaço privilegiado de investigação sobre a aprendizagem da docência, este trabalho teve como objetivo investigar como se constituem e se reconstroem os conhecimentos musicais e pedagógico-musicais de professores unidocentes, a partir de um espaço de formação continuada organizado na escola. As reuniões pedagógicas semanais foram utilizadas para o desenvolvimento das atividades de formação continuada que buscaram conhecer quais conhecimentos musicais e pedagógico-musicais podem ser mobilizados em um espaço como este, além de compreender a função do grupo no desenvolvimento profissional de cada professor. Foram realizados oito encontros com o grupo de professoras da EMEI Borges de Medeiros, nos quais foram tratados temas específicos do ensino de música na Educação Infantil. De caráter qualitativo, esta investigação utilizou, como recursos metodológicos, discussões de grupo focal, entrevistas narrativas e as impressões da pesquisadora sobre o desenvolvimento da formação continuada e das professoras. Com base nos estudos de Ferry (2004), Josso (2010), Mizukami (2008), Mizukami et al (2002), Pivetta e Isaia (2009) e Bolzan (2009), percebeu-se uma tomada de consciência das professoras sobre a função que cada uma desenvolve em seu processo de aprendizagem da docência. A partir deste momento, o grupo se constituiu em um espaço de trocas e aprendizagens compartilhadas. Além disso, as professoras avançaram na compreensão da música como área específica do conhecimento e passaram a desenvolver práticas musicais com maior intencionalidade e segurança com as crianças.
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Daenecke, Elaine Martha. "A formação musical em cursos de licenciatura em música : um estudo com licenciandos/as de instituições do Rio Grande do Sul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/170447.
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Esta dissertação se insere no campo de estudos sobre a formação inicial de professores/as de música e teve como objetivo geral investigar como os/as licenciandos/as percebem a formação musical no curso de licenciatura na sua articulação com a função de ensinar. Os objetivos específicos buscaram compreender como os/as licenciandos/as percebem as finalidades e a organização do curso; que sentidos atribuem à formação musical vivenciada no curso; e que saberes identificam como específicos da profissão professor/a de música. Os estudos sobre profissionalidade docente, desenvolvidos por Maria do Céu Roldão, constituíram o referencial teórico do trabalho. Adotando uma abordagem qualitativa de pesquisa, foram desenvolvidos três grupos focais com licenciandos/as de dois cursos de licenciatura em música de instituições federais de ensino superior do Rio Grande do Sul, matriculados em diferentes etapas de seus cursos. A análise dos dados foi elaborada a partir de categorias que emergiram dos próprios dados, em diálogo com proposições acerca da profissionalidade docente. Os resultados evidenciam distintas percepções entre os/as licenciandos/as que participaram da pesquisa, decorrentes não somente da etapa do curso em que estavam matriculados/as, mas, também, de suas trajetórias e perspectivas futuras. A maioria, entretanto, reconhece a licenciatura em música como um curso de formação de professores, que se organiza a partir de eixos distintos – música, educação e educação musical –, que, no entanto, nem sempre se articulam. A formação musical é condição necessária, mas não suficiente, para se ensinar música. Ao saber música, é preciso articular outros saberes, construídos por meio da formação pedagógica e da pedagógico-musical, saberes necessários à docência, independentemente do que se ensina. Críticas tecidas e lacunas percebidas pelos/as licenciandos/as acerca da formação musical parecem diretamente vinculadas à relação dessa formação com o ensinar música. A formação, tanto musical quanto pedagógica e pedagógico-musical, faz sentido especialmente quando os/as licenciados/as vivenciam práticas de ensino e, principalmente, quando iniciam suas atividades de estágio. Os resultados revelam ainda a identificação da maioria dos/as licenciandos/as em música com a profissão docente, já que nenhum/a dos/as participantes afirmou não pretender trabalhar com o ensino de música, apesar de alguns/mas apontarem que a docência de música não é suficientemente valorizada. Por fim, embora a ênfase na música erudita, a permanência da organização da matriz curricular por disciplinas e as desarticulações entre os eixos de formação do/a professor/a de música, apontadas como questões problemáticas pela literatura, sejam corroboradas por esta pesquisa, os resultados apontam para o fortalecimento da identidade da licenciatura em música como um curso de formação de professores/as de música.This Master Dissertation focuses the initial education of music teachers. It aimed at to investigate how music student teachers perceive their musical training and its relationship with the teaching function in bachelor degree programs in music education. More specifically, it aimed to understanding how the music student teachers perceive the purposes and organization of the programs; which meanings they attribute to the musical training experienced in their initial education program; and which body of knowledge they identify as being specific of the music teaching profession. The theoretical framework is constituted by the studies on teachers professionality developed by Maria do Céu Roldão. Adopting a qualitative approach, three focal groups where carried out with music student teachers enrolled in different stages of two bachelor degree programs in music education offered by federal universities of the state of Rio Grande do Sul, southern Brazil. Data were analyzed from the dialogue between emerging categories and propositions about teaching professionality. The results show different perceptions among the music student teachers. These differences are related not only to the different stages in which the student teachers were enrolled, but also to their individual trajectories and future perspectives. Most of the music student teachers, nonetheless, recognize the programs aims to educate music teachers, being organized in three axes – music, education and music education –, which, however, are not always well articulated. Musical training is considered a necessary but not sufficient condition to teach music. Musical knowledge needs to be articulated to other types of knowledge, constructed by means of pedagogical and music-pedagogical training. These are necessary knowledge for teaching, independently on the subject that will be taught. Criticisms and gaps perceived by the music student teachers about their musical training seem to be related to the perceived demands of teaching music. Training, be it musical, pedagogical or music-pedagogical, makes sense especially when the student teachers experience teaching practice and, primarily, when they begin their internship activities. The results also reveal that most of the music student teachers identify themselves as music teachers, as no one said he/she do not intend to work teaching music, even though some pointed out that music teacher profession is not well valued. Finally, although results corroborate problems currently pointed by the literature, such as the emphasis on classical music, the fragmented curricular organization by disciplines and the non-articulation between training axes, they also indicate the consolidation of the identity of bachelor degree in music education as programs specifically designed to the training of futures music teachers.
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Campos, Jameson Ramos. "Era um sonho desde crian?a : a representa??o social da doc?ncia para os professores do munic?pio de Queimadas-PB." Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14245.
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Previous issue date: 2008-03-30The objective of this work was to access and understand the teaching social representation (MOSCOVICI, 2005) for the teachers of the children education and fundamental education at Queimadas city, Para?ba. We assume that one representation that allows the teacher to name its profession and to act on it, is a derivative of regularities that are expressed by means of a habitus (BOURDIEU, 1983a), generative matrix of perception and action. This teaching habitus is originated from the experiences and the trajectories of social and professional life of the group. Therefore, from some variables, we tried to access the profile of the group of teachers studied and to get closer of their life style to understand their profession choice and the teaching social representation for this group. In this research, it was used four data sources: a) the questionnaires of characterization; b) the questionnaires of practices and meanings; c) the experience reports and; d) the interviews in depth. The analysis of the data collected was done by means of the simple statistics (frequency), the intersection of variables through cross tables and, the thematic analysis of the contents. The results show that there is a lightly homogeneous group in terms of its social origin and its life style, moreover, they conduct to an overlap between this origin/style and the professional choice. On the other hand, the teacher representation is multi-dimensional such that, all dimensions intercept and articulate with each other to provide a concise teacher representation. They are four dimensions: love and care, help and donation, teaching and learning and, sacrifice and hope. The elements of the teacher representation are substantiated in the schemes of perception and appreciation of the group, in the regularities and life experiences in the context of religion, family, gender and profession. In these regularities we find the elements that comprise the teaching habitus which drives perception and action, representation and daily practice of these teachers. The teaching social representation is still perceived as a threshold for the professional identity of the group of teachers considered. We also observed that there are signs of changes in the practices used by these professionals since they graduate from the course of pedagogy. However, it is not possible to say that these changes are isolated or they lead to a transformation in the teaching habitus or the teaching social representation
O objetivo desse trabalho foi acessar e compreender a representa??o social (MOSCOVICI, 2005) da doc?ncia para os professores da educa??o infantil e do ensino fundamental do munic?pio de Queimadas na Para?ba. Partimos do princ?pio de que essa representa??o que permite ao professor nomear a sua profiss?o e agir em rela??o a ela, ? produto de regularidades que se expressam na forma de um habitus (BOURDIEU, 1983a), matriz geradora de percep??o e de a??o. Que esse habitus professoral tem suas ra?zes nas experi?ncias e trajet?rias de vida social e profissional do grupo. Assim, a partir de algumas vari?veis procuramos acessar o perfil do professorado pesquisado e nos aproximar do seu estilo de vida para compreender suas escolhas pela profiss?o e a representa??o social do ser professor para esse grupo. Nesta pesquisa foram usadas quatro fontes de dados: a) Os Question?rios de Caracteriza??o; b) os Question?rios de Pr?ticas e Significados; c) os Relatos de Experi?ncia e; d) as Entrevistas em Profundidade. A an?lise do material coletado foi feita atrav?s da estat?stica simples (freq??ncia), do cruzamento de vari?veis atrav?s de tabelas cruzadas e da an?lise tem?tica de conte?do. Os resultados apontam para a exist?ncia de um grupo relativamente homog?neo no que diz respeito ? sua origem social e ao estilo de vida e para uma imbrica??o entre essa origem e esse estilo e a escolha da profiss?o. A representa??o do ser professor, por seu lado, se apresenta de maneira multidimensional. Quatro dimens?es se entrecruzam e se articulam para fornecer ao professor uma representa??o coerente desse ser: as dimens?es do amor e do cuidado, da ajuda e da doa??o, do ensinar/aprender e do sacrif?cio e da esperan?a. Os elementos dessa representa??o est?o ancorados nos esquemas de percep??o e aprecia??o do grupo, nas regularidades e nas experi?ncias de vida religiosa, familiar, de g?nero e profissional. Nestas regularidades encontramos os elementos que comp?em o habitus professoral que orienta percep??o e a??o, representa??o e pr?tica cotidiana desses professores. A representa??o social do ser professor aparece ainda como elemento balizador da identidade profissional do grupo de professores. Encontramos tamb?m, ind?cios de mudan?as nas pr?ticas desses profissionais desde que conclu?ram o Curso de Pedagogia. N?o sabemos, entretanto, se tais mudan?as s?o apenas pontuais ou apontam para ind?cios de uma transforma??o do habitus professoral ou da representa??o social do ser professor
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Smit, E. (Etienne). "Musiekopvoeding onder die Kaaplandse Departement van Onderwys, 1916-1984 : 'n histories-kritiese studie." Thesis, Stellenbosch : Stellenbosch University, 1985. http://hdl.handle.net/10019.1/70248.
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Thesis (PhD)-- Stellenbosch University, 1985.Includes bibliography
INLEIDING: Daar is nog nie veel navorsing ten opsigte van musiekopvoeding en -onderwys, soos dit in die Suid-Afrikaanse situasie van toepassing is, voltooi nie. Name wat in hierdie verband wel vermelding verdien, is o.a. Jan Bouws, Theodore C. de Villiers, Anna C.M. Fick, Philip McLachlan, Rachel E. Pienaar, Petrus Roos, Gertruida M. Steyn, Anna G.J. van Wyk en Arthur Wegelin. Die terrein sover dit Kaapland betref, is ook nog nie deeglik verken nie, hoewel waardevolle werk deur Mej. Acàma Fick van die Universiteit Stellenbosch gedoen is ten opsigte van die geskiedenis van skoolsang in Kaaplandse skole tot 1915, die afsluiting van die Muirtydperk. Gevolglik is 1916 gekies as die aansluitingsjaar vir hierdie studie oor die ontwikkeling van musiekopvoeding onder die Kaaplandse Onderwysdepartement (K.O.D.). Ten einde 'n hydrae tot die moontlike verdere ontwikkelinge op hierdie gebied te kan lewer, is ook besluit om die studie tot 1984 deur te trek.