This research investigates the longitudinal implications of the teacher-student relationship in one-to-one singing lessons. The thesis consists of two parts: in the first part the expectations and realities faced by singing students are evaluated; in the second part, a longitudinal observation of teacher-student relationship is made and complemented with personality and adult attachment psychological scales. For part one, 64 students completed qualitative and quantitative questionnaires before meeting their singing teachers and 40 students completed the study (six months after meeting that same teacher) by returning questionnaires regarding the relationship. A comparison of the students' expectations and experiences of studentteacher interactions reveal high levels of satisfaction in regard to relationship and overall singing experiences. Students' descriptions indicated that teachers are generally seen as friends which consequently increases trust and confidence bringing benefits for students' personal as well as musical development. In the longitudinal study of part two, the participants were 11 singing teachers and 54 students United Kingdom and 'Portugal. The study had three stages where participants were video recorded during their one-to-one singing lesson. These recordings were complemented with the psychological questionnaires NEO PI- R (Costa & McCrae, 1992) and Adult Attachment Scale (Collins & Read, 1990) to evaluate personality and attachment respectively. The longitudinal observation indicated that the relationships developed into becoming more personal and often included elements from the personal lives of both teacher and student. The interaction between teacher and student include a wide list of variables: personality combination, the individual background, style of attachment and many other singing aspects, suggesting that the relationship with the student could have major impact on other aspects of singing. This research has implications for practitioners concerned with matching and improving student-teacher relationships, and for researchers interested in the longitudinal factors in effective musical teaching and learning.

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 construction of music, by opening up new possibilities of sound creation and manipulation. These changes are theorised here as a transgressional step in the progressive literation of music, that reconnects musical practice to wider possibilities in the organisation of sound, some of which are examined by reference to the example of the traditional music of sub-Saharan Africa. By requiring more music practice, and inclusion of music from other times and cultures, the (British) National Curriculum has made new demands of music education in schools. It is shown that as these coincide with concomitant changes in the production of music due to new technologies, there is a possibility of restructuring music teaching in schools to take account of twenty-first century industry practice of music production. This will provide a sound basis for future employment to pupils. While there are many examples of excellence in school music teaching, quality remains variable and change is uneven. This thesis demonstrates the possibility within school music, of increasing the emphasis on a wider range ix of possibilities of organised sound, by connecting music to science, especially acoustical science, in Key Stages 1-3. At higher levels, considering music and sound together with images in multimedia will provide wider opportunities for the development of career skills. An electronic xylophone serves as an example of an instrument developed to enable the exploration of sound in the manner proposed, while retaining the kinaethesia found in physical musical instruments.

This thesis is an examination of the learning processes employed by adults who learn to play an instrument within an ensemble. The alms of the research were threefold. Firstly, to discover how a person learns in a group and what the role of the soclo-cultural environment is In learning. Secondly, to Investigate the role that Identity plays In learning and whether the students regard themselves as musicians. Rnally, to explore the role of the performance in the musical learning process. The research has been carried out using case-study research and a four-year autoethnographlc study. The theoretical framework Is provided by literature from the fields of cultural psychology, music psychology and adult learning. Activity Theory has been used as the main analytical tool. The discussion firstly considers the leaming process in order to construct an activity system of muslcalleamlng within an ensemble. Then, using this activity system, the motivational factors inherent In the learning ensemble and the role of Identity In generating motivation are considered. Through analysing motivation and Identity In relation to the activity system, I have demonstrated how the activity system can be developed into a three-dimensional system by Incorporating Identity as a constituent, thus stabilising the activity system. A three-dimensional system then allows for multiple activities to be analysed through the construction of activity constellations. The result of this study is a model of partidpative learning. Partidpative learning takes Into consideration the purpose of learning and the soclo-cultural environment so that musical leaming Is embedded In social music making. This then provides music education with a new model for leamlng a musical Instrument.

This thesis traces the development of music in the school curriculum this century, with particular reference to the maintained sector of education. It demonstrates how the subject has expanded from being an activity almost exclusively concerned with the singing of songs, to become a discipline, which by the 1980's embraced instrumental work, musical appreciation, creative music making, examination work and electronic music. This research examines the process of development from the early days of the 20th Century when singing was the most important feature of school music. The significance of singing in school music lessons has been consistently acknowledged throughout the century by music educators, although as the years progressed the acquisition of other musical skills was considered essential. The work traces the gradual introduction of percussion bands, and eurhythmics during the early years of the century, a shifting emphasis to the appreciation movement in the 1930"s and the introduction of the radio and gramophone during this period. After 1944 instrumental tuition in schools became increasingly popular and during the 1950's and 1960's the emphasis again moved and focused on the developing creativity movement. During the 1970's and 1980's a number of current issues evolve and the impact of technology, G. C. S. E., the National Curriculum and the 1988 Education Act is examined. Thus can be seen the expansion of curriculum music this century and the way in which at various stages of this development different aspects of class music assumed greater or lesser significance. Despite this development, school'music has had apparent low esteem in many schools and has usually been amongst the first subjects to be sacrificed in order to make way for more academic areas of the curriculum. Any esteem which music has gained, has often been associated with extra curricular work either within school or at Masic Centres, and the growth of such musical activities has been considerable throughout the 20th Century. The thesis seeks to ask and answer a number of questions. Why has music had low esteem? Why has it so often suffered as a curriculum subject? How have various developments in our understanding of the learning process influenced music in the curriculum? What has been the impact of various Reports throughout the century and how have they viewed the importance of music as a curriculum subject? What has been the impact of certain educators in music this century? What has been the impact of the development of instrumental services and music centres during recent years? It is not within the scope of this work to examine music in the Private Sector or in specialist schools for children showing exceptional musical ability.

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No description available.

This study is concerned with the effects of the context of musical experiences on the mental representation of music. The analysis is focused on the context of listening to recorded music in the classroom, with particular regard to strategies of listening through participation. Playing rhythms along with recorded music within an instrumental group (Audience-Performing) is therefore the main context of analysis, being developed in comparison to the context of listening in silence (Audience-Listening). Everyday situations give evidence of the power of context on the ways individuals think and mentally represent music. This acknowledgement of the contextual dependency of the mind and the apparent contextual weakness of audience-listening function as the background for the elaboration of the hypothesis that playing along with recorded music may enrich the learning context and affect mental representation in positive ways. The supporting theoretical framework is built in the light of connectionism. This theory from cognitive science allows a conception of mental schemata that preserve the links between object and context, and, thus, the meaningful mental coexistence of diverse types of information distributed through the brain. The contextual complexity of Audience-Performing is, in this sense, theoretically reinforced as an ecological enrichment with positive effects on both the acquisition and organisation of mental representation. The thesis is validated through an experiment, which compares a control condition of 125 children listening to a recorded piece of music with an experimental condition of 125 children playing rhythms along with the same recorded musical piece. After the treatment, both groups were tested on the identification of excerpts from the musical piece. As shown by the results of at-test used to compare the score means of both groups, the experimental group identified more excerpts with statistical significance. A second experiment replicated the findings and helped to support the argument that the context of playing along with recorded music in the classroom has a high probability of positively affecting mental representation of music.

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This exposition accompanies twenty items of published materials submitted in partial fulfilment of the Ph.D. degree. It demonstrates the consistency of direction in my published contributions to the changes and developments in dance in education over a thirty year period. All the publications focus on content and methods of teaching dance and therefore address the perceived needs of teachers and students. A critical review of my work considers the relevance of my publications in this practical dance context. The evaluation of my role in developing and changing dance pedagogy takes account of the constant two way interaction between my reflective research in the practical dance context and the influences of : a) evolutionary developments in dance in education b) literature focused on content and methodologies for dance in education, and c) the innovatory practices of key teachers of dance. The exposition will show how these influences have affected my practice and publications. The overall aim of the exposition is to evaluate my publications as contributions to changes and developments in the practice of dance teaching. The exposition also aims to demonstrate the validity of my publications as responses to the wider problems and issues in dance in education prevalent from 1965-1996. The exposition is presented in four chapters. The introductory chapter identifies the main intentions and signals the practitioner bias of the study. Chapters 2 and 3 take a chronological path through the time span and evaluate my publications in relation to other publications which also focus _on content and methods of teaching dance in education. These chapters are prefaced with a chronological "map" to help the reader discern the interrelationships between the evolutionary developments, the writings of others and my publications. Chapter 4 is particularly concerned with evaluation of my main contributions to the changes and developments witnessed in dance teaching and learning in education during the period 1965-1996. Here, a consideration of the influence of key practitioners on my developing thinking and practice constitutes an important element in the evaluation of my contributions. The practitioner orientation of the exposition will possibly benefit from substantiation of my contributions in developments in dance in education beyond the submitted publications. To this end, the testimonials in Appendix 3 lend greater objectivity to the study.

The study is located in the context of the practice of Art and Design Education, as a community within higher education. It suggests that some of the 'trends' and 'tensions' identified in this community, evident both in its current position and its recent history, point to the potential value of e-learning designs that support collaborative and co-operative models. To understand the efficacy of these 'participative' fonns of learning, in which peer review is also a central pedagogic consideration, three case studies were undertaken to explore the way in which cooperation and collaboration are developed between distributed participants, engage~ in producing a series ofjoint artefacts (textual and visual). The thesis argues that networked co-operative and collaborative Learning (e-learning) might help resolve some practical issues associated with these tensions, including widening participation, thinking about learner support, and including ways of productively linking. learning and teaching. It also raises the possibility for assessment to be made a more valuable and fonnative tool in visual learning. In line with this, the thesis set out to examme the introduction of networked collaborative learning into studio-based practice as a pedagogical strategy. The research presented here is a qualitative investigation of co-operative and collaborative pedagogical models and designs that may support creative, visual practice-based learning in networked (e-Iearning) environments within Art and Design education. The research explores the effects that these more 'participative' fonns of learning have on the development and realisation of creative visual thinking processes and outcomes, where communication is largely text-based and asynchronous. The first case, a pilot study, is set in an adult education context that is not 'visual' but provides a 'testing ground' for developing the design that is used in the later work. The two main case studies focus on visual, creative contexts. The second case explores the model, and design, in an international, professional and infonnal setting. The third study focuses on undergraduates working in two locations in UK higher education. One distinctive feature of this research is that it uses key 'explanatory features' of several overlapping theoretical frameworks in order to focus the investigation, and interpret the findings. The main purpose of this approach is to attempt to develop a more detailed and mu1ti~layered understanding of the nature of the learning that occurs (creative, open ended, visual) and how it occurs (for e.g. through social interaction) in participant groups working to create their joint visual artefacts. These frameworks include Social Constructivism, Situated Learning, Socio-Cultural Theory, Activity Theory, and Motivational Theory. A second distinctive feature of this research is the main finding of the study. This suggests that visual creative processes, and effective, planned learning, can and do occur in groups of geographically remote (,distributed') individuals, working collaboratively through the Internet, using an educational (textual and image based) design that structures learning activity. This finding is used to explore and develop some pedagogical de~ign implications for Art and Design Education. This study attempts to articulate some of the details of these new designs, based upon empirical evidence drawn from the research, in real educational settings. For example, it summarises designs that emphasise the value and efficacy of more social forms of learning in helping learners and practitioners to develop and visualise their creative ideas within a· networked environment. These designs include provision for social grounding, the progressive development of collaborative skills, and forms of assessment that take account of peer involvement and the processes of learning and creativity, as well as their products.