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The Use of Battle Rap As a Way to Engage Students in STEMParker, Jamie Thomas January 2020 (has links)
This qualitative, multi-case study examined the process of lyric creation and nontraditional modes of communication (using themes from hip-hop and battle rap) as a mechanism for developing a teaching and learning strategy in STEM education. This manuscript style dissertation, examines the experiences of 24 postsecondary students and five battle rappers who created science-themed lyrics, used them as a learning strategy, and delivered content in a college and community setting. Insights into teaching and learning were revealed through the study of these lyrics from a constructivist and intellectual warrior theoretical framework. This research showed that as a result of utilizing battle rap, learning spaces were improved. Students’ interviews, lyrics, and reflections uncovered that they appreciated the opportunity to be more creative in class were more engaged, communicated and networked more than they did in their traditional science classroom. The battle rappers discussed and displayed the characteristics that allow them to engage audiences in hopes that teachers can learn how to incorporate engaging techniques within their own classrooms. Through interviews and a performance, battle rappers’ attempt to keep students engaged revealed their transparency; ability to freestyle; get hyped; and demonstrate charisma, presence, character, and energy. This information helped to explain, describe, and understand the experiences of both students and battle rappers and their potential relationships to science and the community. This work supports arguments for the use of culture (art/music/experiences) through music in the science classroom.
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Some applications of the basic principles of elementary education in planning a music program for Lowndes CountyUnknown Date (has links)
The purpose of this study is to show the close relationship of music education to the total elementary school program. The need for such a study has been recognized by many music educators since it is commonly conceded that music education has not been as effective in realizing the ultimate aim of all education as it could be if made a very intimate part of the total educational process. / Typescript. / "July, 1952." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Dora Skipper, Professor Directing Paper. / Includes bibliographical references (leaves 44-45).
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Variable instrumental arrangements for enriching the elementary classroom music programUnknown Date (has links)
"In this study, the term 'Instrumental' will be used to include not only the usual instruments of the orchestra and band, but also 'melody instruments' such as tonnettes, flutophones, and other similar ones. The piano will not be included in this study because there is less need for more literature for this instrument at the elementary level than for others"--Introduction. / "August, 1954." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music." / Advisor: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaf 46).
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Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental EnsemblesMarcho, Trevor K. 13 November 2020 (has links)
No description available.
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Arranging for junior high school wind ensemblesHines, Rodney Robert 01 January 1960 (has links) (PDF)
Music has, at least to a certain degree, established itself among the subject matter of modern-day school curricula. Its position is probably most precarious in our Junior High School system. Although the Junior High is by no means a recent innovation, it is a controversial one. and is still somewhat in an experimental stage in many respects. Music instruction, particularly, is greatly affected by this profound influence upon the instructional work of the seventh, eighth and ninth grades that the Junior High division has given. John W. Beattie has put it the way:
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The effect of music infused into the middle-grades mathematics curriculum on student attitudes and performancePearson, Genene 01 April 2002 (has links)
No description available.
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Die invloed van musiekonderrig op die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteitSmal, Dina-Maré 03 1900 (has links)
Thesis (MA) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This study was undertaken with a view to evaluate the effect of music education on
the self-concept of the learner with attention deficit hyperactivity disorder.
Four learners diagnosed with attention deficit hyperactivity disorder were asked to
participate in a music program presented for two terms by the researcher. The selfconcept
of the learners was recorded through interviews and questionnaires by the
learners and their parents before the study commenced. Observations by the
researcher and objective observer were used to monitor the learners' progress during
the course of the lessons. After the completion of the music program the learners and
their parents were again asked to participate in an interview and to complete a
questionnaire. This study revealed that music education is a great enjoyment to these
learners and the self-concept and self-confidence of some of the learners improved.
A literature review was done in order to obtain a perspective on attention deficit
hyperactivity disorder. A historical overview provided insight into the development of
this disorder necessary to describe it properly. The study also focuses on various
intervention techniques which can be used by parents and teachers.
In addition, the study focuses on the role of music education and music practice on the
various developmental levels of the learner and how music can indeed affect
relaxation and be responsible for lifelong learning.
It is recommended that the learners continue with mUSIC education, because it
provides them with a sense of success and it plays a vital role in the cognitive
development of the learner. This, in tum, leads to lifelong learning: an influence that
will remain an irrevocable part of the child for the rest of his/her life. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem met die doelom die uitwerking van musiekonderrig op
die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteit te evalueer.
Vier leerders wat gediagnoseer is met aandagafleibaarheid-hiperaktiwiteit is genader
om 'n musiekprogram, aangebied deur die navorser, vir twee kwartale by te woon.
Die selfbeeld van die leerders, wat vooraf deur middel van onderhoude en vraelyste
deur die leerders en hulouers voltooi is, is geëvalueer. Die leerders se vordering is
tydens die lesse deur middel van observering en objektiewe waarneming bepaal. Na
afloop van die musiekprogram is die leerders en hulouers weer gevra om 'n
onderhoud en vraelys te voltooi. Uit die studie blyk dit dat musiekonderrig 'n groot
mate van genot vir die leerders is en daar was 'n verbetering in selfbeeld en
selfvertroue by sommige van die leerders.
'n Literatuuroorsig bied insig oor die omvang van aandagafleibaarheid-hiperaktiwiteit
en 'n historiese oorsig oor die verloop van die proses wat tot 'n beskrywing van die
versteuring lei, word bekyk. Die verskeie intervensie-tegnieke wat deur ouers en
opvoeders toegepas kan word, word bespreek.
Verder word die rol wat musiekonderrig en musiekbeoefening op die verskillende
ontwikkelingsvlakke van die leerder speel aangespreek, asook hoe musiek 'n
ontspannende effek kan hê en verantwoordelik kan wees vir lewenslange leer.
Dit word aanbeveel dat leerders volhou met musiekonderrig, omdat dit 'n gevoel van
sukses verskaf en 'n belangrike rol speel in die leerder se kognitiewe ontwikkeling.
Laasgenoemde is gevolglik verantwoordelik vir lewenslange leer: 'n onherroeplike
invloed op die leerder vir die res van sy/haar lewe.
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Introducing the concept of the music generalist-specialist : A response to open access 'Music in Education' trainee school teachersDrummond, Urvi 10 November 2008 (has links)
South Africa is engaged in social redress and Education at all levels reflects this commitment.
The period of transition from the apartheid policy of the National Party, (1948 – 1994), to the
democratic policy of the African National Congress and its alliances, (1994 - ), continues to be in
a state of flux. Education authorities struggle to maintain a balance between widening access to
previously disadvantaged students whilst maintaining standards at the same time. Much of the
recent debate on good teaching and learning practices suggests that teachers not only need to
have a firm grasp of their discipline knowledge but that they also need to perform competently in
pedagogic practice. This debate recognises sociological change in knowledge-discourses, fair and
transparent assessment policy, and teacher and learner profiles, thereby creating an urgent need
for a new professional identity for teachers.
Efficient and effective teaching practices require school teachers to be sensitive to innovative
and wide ranging culture-sensitive content as proposed by the Revised National Curriculum
Statement (RNCS). This is a refined version of South Africa’s first national education policy,
C2005, introduced to schools in 1998 and streamlined in 2000 by the Review Committee of
C2005 to produce the RNCS. Music now fits into Arts and Culture, one of eight integrated
learning areas. The Generalist-Specialist Music Educator is a new identity meant to empower
classroom trainee-teachers in primary and secondary education who are new to the discipline of
music.
The majority of the teacher-trainees who have elected to take the Music in Education
module at the University of The Witwatersrand’s School of Education are admitted under
discretionary rules, and as a consequence they have little or no experience of formal music
education. The Generalist-Specialist Music Educator comes from such a background and her
aim would be to fast track her way towards a music orientation that would equip her to advise
her own students who might want to learn music at school. Specifically, the Generalist-Specialist
should enhance the open relationship between learner and teacher as well as contribute
effectively to the multidisciplinary nature of today’s school curriculum.
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To what extent do intervention music classes impact on seven and eight year old children presenting with social, emotional and behavioural difficulties? : a study of student learning in a deprived school settingThomas, Jill January 2014 (has links)
This qualitative case study, set within the sociocultural field of education, examined how intervention music lessons over the duration of one school year may have shaped the development of two seven and eight year old children presenting with social, emotional and behavioural difficulties. The students in the context of this research were selected from mainstream classes due to the emotional and behavioural difficulties they had exhibited. Through analysis of field notes, student iPad diaries and formal and informal interviews, an exploration into the impact of active and collaborative music learning and teaching on the social, emotional and behavioural learning of these students took place. The music learning and teaching was based around Eun’s (2010, p.405) socioculturally informed instructional model, which offers eight interrelated principles for instruction, namely that they should be: mediated; discursive; collaborative; responsive; contextualized; activity-orientated; developmental; and integrated. In examining the social and emotional development of these children during the music lessons, the emergent findings suggested that the intervention classes positively benefitted the children’s development in three main thematic areas, namely in personal competence, task competence and social competence. Although both children responded to the intervention music lessons in strikingly different ways, key findings highlighted substantial increases for both children in their self-esteem, possibly due to their success and achievements in music. The second pertinent finding was that the duration of the intervention programme itself was an important factor, with substantial increases being made in their affective development by the late research phase. Overall, this study highlighted the prominence of achievement in student’s affective development and I suggest that utilizing music as a vehicle for accomplishment for children presenting with SEBD, is a potentially powerful and influential resource.
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Music in state-supported schooling in South Australia to 1920.Southcott, Jane Elizabeth, mikewood@deakin.edu.au January 1997 (has links)
This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented.
Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades.
As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm.
The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools.
The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.
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