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Дисертації з теми "Music education"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 25 липня 2025

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1

Forari, Antonia. "The voices of Cypriot music education : a sociology of music education." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/10006665/.

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Monitoring the processes through which upper secondary music education in Cyprus is constructed calls for articulation of the meanings of four groups of key actors. These actors are involved in music education's journey from education policy contexts to curriculum contexts. They include, firstly, the policymakers of the Cyprus Ministry of Education, who form policy and present this as curriculum ideologies, mainly in the official rhetorical curriculum. Second, the music inspector (for which there is only one post in Cyprus) has the main responsibility of interpreting, adapting and embodying th

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2

Heinrich, Lisa M. "MULTICULTURAL MUSIC EDUCATION: SECOND-GRADE STUDENTS’ RESPONSES TO UNFAMILIAR MUSICS." Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260496852.

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Анотація:

Thesis (M.M.)--Cleveland State University, 2009.<br>Abstract. Title from PDF t.p. (viewed on Dec. 15, 2009). Includes bibliographical references (p. 52-55). Available online via the OhioLINK ETD Center and also available in print.

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3

Thorgersen, Ketil. "Music from the Backyard : Hagström's Music Education." Doctoral thesis, Luleå tekniska universitet, Institutionen för musik och medier, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-40056.

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4

Dunn, Anne Maureen. "Music education : an adult education perspective." Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/10019700/.

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5

Hale, Travis L. "Becoming an educator: identity, music education, and privilege." Diss., Kansas State University, 2018. http://hdl.handle.net/2097/38794.

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Doctor of Philosophy<br>Curriculum and Instruction Programs<br>Frederick Burrack<br>This study is an intertwined critical autoethnography through which my experiences, my stories, are woven together with memories of family, students, and teaching career. Together, the telling of these stories will explore how I negotiated my identity development throughout my middle and high school experiences at a time when I could have been labeled as an at-risk student. The development into my professional career and personal life all influenced strongly by my participation in music education. Filtering t

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6

NGUYEN, DUY. "SOFTWARE FOR MUSIC EDUCATION." Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190713.

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7

Makonnen, Karyn. "The Interdisciplinary Approach: A Music Education Methods Course Component For Preservice Education and Music Education Majors." Bowling Green State University / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1421884052.

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8

Young, Sharon M. "Music teachers' attitudes, classroom environments, and music activities in multicultural music education /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794066543544.

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9

Stock, Carolyn D. "Perspectives in music education and arts education : the role of National standards for arts education in music education policy reform /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p1413024.

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Thesis (M.A.)--University of Oregon, 2002.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 74-75). Also available for download via the World Wide Web; free to University of Oregon users.

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10

Paton, Rod. "The process of renewal in music and music education." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307250.

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11

Jarachovic, Jacquelyn Sarah. "Vocal Health Education for Preservice Music Education Students." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588190950179913.

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12

Barrett, James Edward. "Music technology in school education." Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.

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Анотація:

What is music, and how should it be taught in schools? This thesis traces how education and literation have reified music and distanced the construction of music in western conceptions, and British education, from practice in other, historical and geographical, cultures. Musical practice is dependant on the technologies for music production, which also influence the cultural construction of music. New developments in music technology, through the application of electronics and digitisation, have substantially changed the music industry, and, beyond this, have altered the generally accepted con

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13

Runn, Elin, and Mikaela Jönsson. "Using music in Swedish education." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-29906.

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Анотація:

Arbetets syfte är att undersöka på vilka grunder musik bör användas som redskap i svenskundervisning. I ämnesplanen för svenska 1 finns flera formuleringar som stödjer lyssnandet samt att eleverna ska kunna hantera flera olika medier. Användandet av musik går ifrån den traditionella ”läsa-skriva”-ramen vilket gör att det kan finnas motstånd mot denna typ av estetisk läroprocess. Vårt mål med undersökningen är att visa att musik som medel kan användas i svenskundervisning utan att försämra elevernas slutresultat. Musikens pedagogiska fördelar har belagts av flera forskare. För att styrka dessa

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14

Johnson, Daniel Clinton. "The effect of critical thinking instruction in music listening on fifth-grade students' verbal descriptions of music." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/290007.

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Анотація:

The purpose of this study was to determine the effect of critical thinking instruction on the music listening skills of fifth grade students as measured by written responses to music listening examples. It was hypothesized that music listening instruction including opportunities for critical thinking (Critical Thinking Instruction, CTI) would be more effective than parallel instruction without critical thinking instruction (Activity-Based Instruction, ABI). CTI consisted of four components: musical terms and concepts, repeated music listening examples, responding activities, and opportunities

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15

West, Susan, and susan west@anu edu au. "A new paradigm in music education : the Music Education Program at The Australian National University." The Australian National University. Centre for Educational Development and Academic Methods, 2007. http://thesis.anu.edu.au./public/adt-ANU20090816.132910.

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This thesis describes a qualitative action research process undertaken in the field over approximately eight years of the development of an alternative paradigm for music education. This new paradigm evolved from a simple, practical approach that was not, in the first instance, designed to be transformational, but which quickly showed itself to have potential for providing a different model for conceptualising musical engagement. ¶ It is argued that the standard and widely accepted approach to music education has aspects that does not encourage on-going music making. This study conceptualise

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16

Schaus, Lam E. "Implementing multicultural music education in the elementary schools' music curriculum." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.

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The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in

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17

Blackman, Eldon. "The status of music education in secondary schools in Trinidad and Tobago| Perspectives from educational leadership." Thesis, Temple University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=3745857.

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<p> The purpose of this study was to investigate principals’ perceptions of the status of music education in secondary schools in Trinidad and Tobago. The guiding questions were (a) What are secondary school principals’ perceptions of music learning outcomes as they are currently being met and as they should be met under ideal conditions, (b) What are secondary school principals’ perceptions of broad educational goals as they are currently being met and as they should be met under ideal conditions, (c) Is there a difference between principals’ perceptions of current and

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18

Holmberg, Susan D. "Music teachers’ perceptions: the role of music education in early literacy." Diss., Kansas State University, 2010. http://hdl.handle.net/2097/4635.

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Doctor of Philosophy<br>Curriculum and Instruction Programs<br>Jana R. Fallin<br>In the wake of No Child Left Behind Act (U.S. Department of Education, 2006), educational reforms focused on providing students with effective systematic instruction in reading skills have become a nationwide concern. Report findings from the National Reading Panel (National Institute of Child Health and Human Development, 2000), indicate the establishment of a high quality comprehensive reading curriculum must include the five key components of phonemic awareness, phonics, fluency, vocabulary, and comprehension

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19

Kladder, Jonathan Ross. "Re-envisioning Music Teacher Education: A Comparison of Two Undergraduate Music Education Programs in the U.S." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6719.

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Анотація:

The coursework requirements for an undergraduate music education degree in the U.S. have remained relatively unchanged since its inception in the early twentieth-century. In light of the changing milieu of the twenty-first century music learner, some scholars and researchers have suggested redesigning particular components of the music education degree. A few universities in the U.S. have reacted by implementing changes to their undergraduate music education curricula. Preliminary data and reviews of literature revealed that limited investigations into these programs existed. The purpose of th

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20

Snow, Michelle Hansen. "Music education and entrepreneurship: post-secondary music teacher education and value creation for individuals and communities." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12633.

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Thesis (D.M.A.)--Boston University<br>Entrepreneurship is a topic gaining attention within post-secondary education in the United States in a multitude of disciplines outside of the traditional business school. In the discipline of music, entrepreneurship education can be described as an approach to preparing professional musicians that considers the artistic and economic environment they will encounter upon graduation. The aim of entrepreneurship education is to help a student creatively apply her or his education, skills, passion, and vision toward creating a sustainable career in music. Ent

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21

Rodríguez-Quiles, y. García José A. "Spain : current planning for music education." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/3212/.

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Content: 1. Introduction 2. Music in the curriculum of The Educación Obligatoria 2.1 Music in Educación Primaria - Listening and Comprehension - Music Making - Rational Analysis (Musical Notation) 2.2. Music in Educación Secundaria Obligatoria (E.S.O. Compulsory Secondary education) and Bachillerato (Pre-University Education) 3. Music in the Spanish Non-Compulsory Education 3.1. Elementary and Medium Levels 3.2. The “Title of Higher Music Education” 4. The new certificate of “Didactic Specialization” 5. Concluding remarks

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22

Beer, Luzaan. "Music education in the foundation phase." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.

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Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales

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23

Bergersen, Kristen. "Teacher Retention in Australian Music Education." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21489.

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This study aims to investigate whether classroom music education in Australia is experiencing challenges regarding teacher attrition, and the main factors which influence graduates to either continue classroom music teaching or to leave the profession. In this mixed methods study, 59 Australian music education graduates who have passed through their early career stage responded to a questionnaire. The questionnaire enabled close investigation and subsequent rich analysis of a significant amount of data in relation to the participants’ career trajectory and professional experiences. Interviews

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24

Kiss, Boglárka. "A chronicle of school music education." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11107.

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Thesis (D.M.A.)--Boston University<br>This inquiry is a chronological overview of the history of school music education in Hungary. The study explores the topic from a large-scale humanistic perspective, in which historical context, general education laws, individual institutions and music educators, as well as music curriculum, textbooks, and teaching methods serve as evidence. The chronological narrative delineates four distinct historical periods within which music education is examined: from the annexation of Hungary by the Austrians (around 1700) to the creation of the first royal edict

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25

Cook, Andrew S. "A poststructural investigation of music teachers and music education in film." Thesis, Boston University, 2013. https://hdl.handle.net/2144/10970.

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Thesis (D.M.A.)--Boston University<br>As popular texts that circulate widely, films contribute to the way groups, individuals or ideas are understood in society. In this study I sought to explore the portrayals of music teaching in Hollywood movies, and examine the ways films might contribute to the occupational identity of music teachers. This investigation focused on four films that feature music teachers as major characters and that demonstrate a prevalent position in public consciousness as indicated by commercial success: Mr. Holland's Opus (1995), Music of the Heart (1999), Drumline (200

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26

Torrance, Tracy A. "Music Ensemble Participation: Personality Traits and Music Experience." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7100.

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The personality of musicians, artists, and other creative persons is of considerable interest to researchers and educators who seek to identify traits associated with musical behaviors. Personality traits can influence music behaviors such as instrument choice, ensemble choice, practice habits, and musical experience, which may contribute to continued music participation. The purpose of this study is to explore the relationships between personality type, music ensemble section, instrument choice (vocal or instrumental), and musical experience in college students and individ

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27

Perkins, Emily Good. "In Search of Culturally Sustaining Music Pedagogy| Adolescent Music Students' Perceptions of Singing and Music Teaching." Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816933.

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<p> The diversity present within K-12 classrooms in the United States presents teachers with students from many backgrounds and musical traditions. Traditional undergraduate music education programs which prioritize the Western canon provide little opportunity for students to address diversity, both in pedagogy and in content. Prospective music teachers in the choral or general music areas experience vocal education that focuses primarily on the classical <i> bel canto</i> vocal technique. This education fails to prepare teachers to teach students from diverse backgrounds and musical tradition

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28

Andrianopoulou, M. "Aural education and its pedagogical conceptualisation in higher music education." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10043813/.

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‘Aural training’ has been a part of Western tertiary formal music education from the latter’s beginnings in the 19th century. Traditionally, it focuses on pitch and rhythm, and features the practices of solfège and dictation, which can be traced back to the work of Guido d’ Arezzo in the 11th century. Guido’s system, as well as later uses of solfège and dictation in 19th-century European and American schools and choirs, aimed to aid and facilitate musical learning for both children and adults. More recently, however, empirical research has shown music teachers and students to be often negati

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29

Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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30

Casto, Trevor W. P. "Urban Music Education: Alternative Experiences in the Middle School General Music Classroom." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391616004.

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31

Gaydos, Thomas Joseph Odo. "Popular Music in the Paterson, New Jersey General Music Classroom." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827718.

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<p> This project seeks to discover ways to effectively use popular music in the general music classroom in order to have lessons be more culturally relevant, give students a better understanding of musical concepts, and increase engagement. The research methods for this thesis included review of various articles, a survey (see appendix C), and personal experience as a general music teacher. My research suggested ways for music teachers to use popular music in the general music classroom in order to keep lessons culturally relevant, give students a better understanding of musical concepts, and

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32

Michel, Jimmy. "Elementary Music Teachers' Perceptions of the Effect of Budget Reductions on Music Education." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/4746.

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Анотація:

Since 2007, many U.S. music education programs have been negatively affected by budget reductions at the local, state, and national levels. Although researchers have studied the effect of budget reductions on music education, they have not widely examined the perspectives of teachers who have experienced these reductions. The purpose of this study was to explore elementary music teachers' personal and professional experiences with budget reductions, and the perceptions of how their programs, students, schools, and communities have been affected by the budget reductions. The philosophies of Kod

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33

Li, Zheng. "Teaching Chinese Traditional music with Generative instruction and Effective music teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34617.

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Анотація:

This text is the carefully adapted transcription of the recording of the presentation of Zheng Li and Huo Gua at the symposium in Leipzig 2014. Prof. Dr. Zheng Li read parts of her presentation in Chinese language alternating with her assistant Huo Gua, who translated into English. Only the English part is printed in this book. The title is given from the editor.

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34

Sangiorgio, Andrea. "Collaborative creativity in music education : children's interactions in group creative music making." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.

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Анотація:

This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in

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35

Sieger, Crystal Anne. "Identity Perceptions of Music Performance/Music Education Double Majors: A Qualitative Study." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/268353.

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Анотація:

Undergraduate students who double major in music performance and music education often face issues with identity perception unlike those of their single-major counterparts. As they simultaneously develop both identities, double majors cope with additional challenges as they determine who they are and who they hope to become. Some easily adapt to both identities--incorporating values of both majors to create a well-rounded persona--while others struggle to find balance between the two identities. The purpose of this study was to investigate the early stages of performer-teacher identity by exam

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36

Ballantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16074/1/Julie_Ballantyne_Thesis.pdf.

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Анотація:

The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perc

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37

Ballantyne, Julie. "Effectiveness of Preservice Music Teacher Education Programs: Perceptions of Early-Career Music Teachers." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16074/.

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Анотація:

The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers' perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers' perceptions of effectiveness and early-career music teachers' perc

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38

Beam-Barber, Michelle. "The effect of music listening maps on second grade music students' preference for and understanding of orchestral music." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/1472.

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Анотація:

This study investigated the use of music listening maps to help learning and the preferences of second graders for orchestral music. Subjects were a population of four 2nd grade classes, and were randomly divided into two groups. The investigation was a counterbalanced, post-test only design, lasting for three consecutive classes. Two treatments/lessons were presented and a third lesson was a review. In Treatment 1 Group I used listening maps first, while Group II received instruction without listening maps. In Treatment 2, the order was reversed. Two post-tests and a comprehensive test were a

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39

Royo, Johanna Lucia. "Self-Efficacy in Music Education Vocal Instruction: A Collective Case Study of Four Undergraduate Vocal Music Education Majors." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/320010.

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Анотація:

While much research exists on self-efficacy in music programs, few research studies have qualitatively examined the impact of vocal performance settings on music education majors' self-efficacies and career goals. This collective case study examines the self-efficacy perceptions of four undergraduate vocal music education students in five vocal performance and rehearsal settings: (a) voice lessons, (b) studio classes, (c) choral rehearsals, (d) choral performances, and (e) juries. During a spring semester at a major university in the southwestern United States, I examined how participants' per

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40

Kwami, Robert Mawuena. "African music, education and the school curriculum." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1989. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296838.

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41

D'Alton, John Patrick. "Edward Johnson and music education in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ27491.pdf.

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42

Akapelwa, Emma Ziweyi Mwangala. "Problems of music education : a comparative study." Thesis, Queen's University Belfast, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336035.

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43

Anderson, Kirstin. "Music education and experience in Scottish prisons." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/9598.

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Анотація:

This research presents the first empirical study of music provision in Scottish prisons and explores the potential benefits of music engagement for prisoners, with a focus on young offenders’ experience. The scope of the study begins with an investigation into music provision in prisons throughout Scotland by means of a small-scale survey. This survey showed that despite a lack of documentation, music is currently present in Scottish prisons and has been previously, albeit intermittently. Music provision included a range of activity: learning how to play musical instruments, singing, music the

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44

Wallbaum, Christopher. "Summary comparing normative constellations in music education." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34646.

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This summary connects parts of nearly every chapter of the book with a thick brush regarding normative constellations. Comparing the constellations shows both, how practices within lessons are normatively connected with practices in other social fields, and that there are fractures that show a need for further research. In conclusion I sketch a model for comparative praxial music education.

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45

Schoning, Marelie. "The Role of Singing in Music Education." Diss., University of Pretoria, 1993. http://hdl.handle.net/2263/64956.

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English: The singing ability of youths in South Africa, Germany, Great Britain and United States of America is poor. This implies that the merits of singing are not accentuated and that singing is not used optimally in general and formal music education. This also has an effect on multicultural music education. The success of folk song singing depends on successful singing activities. The primary reason for the poor singing of youths can be found in unstructured singing. The merits of singing in formal music education include the development and improvement of: * singing accuracy and

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46

Ford, Sarah Elizabeth. "Music Education for Adolescents in Residential Treatment." University of Akron / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=akron1208202346.

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47

Mercavich, Charles James. "Survey of music executives in higher education /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487267024998257.

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48

Betts, Steven Lee. "Lynn Freeman Olson's contributions to music education /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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49

Kangron, Ene. "Teaching music through active participation and involvement in music making." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34623.

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The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.

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50

Lowther, Gail Elizabeth. "A comparison of the United States' National Music Standards and England's National Music Curriculum." Bowling Green, Ohio : Bowling Green State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1236804608.

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