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Earlier research (Leggatt 1974) suggested that young children can communicate moods through original melodies. The present research examines the discriminating effect on mood communication of the components pitch, rhythm and speed. Age, sex, aural disembedding, perception, personality and ambiguity were considered. The hypotheses adopted were: 1. (i). Junior children can communicate through perceived moods in original melodies. (ii). This communication is made by virtue of one or more components. 2. Communication is dependent on Personality. 3. Communication is dependent on the ability to disembed. 4. Children like ambiguous tunes more than they like unambiguous tunes. Five moods identified as "Angryj comical, dreamy, frightened and sad" were chosen. The experimental method required each composer to produce, in random order on different days, five melodies each evocative of a stated mood. Each tune was recorded on magnetic tape so that listeners could have identical renditions. Each tune was then modified by subtracting successively pitch and rhythm. A third modification was altered speed. Tunes were assessed again for mood categorization; a sample was also assessed for preference of ambiguity or unambiguity. The results after computer and manual analvsis sugyýest: 1. Removal of a musical component alters original mood perception and may cause clustering of mood perceptions. 2. There is a connection between type of musical component perceived and mood. 3. Children's preference for ambiguous or unambiguous tunes is influenced by perceived mood of tune. .1 4. Sex, age, personality and aural disembedding ability do not significantly affect categorizations of original or modified tunes. The general implications are; In children's own tunes, perceived mood varies as components perceived. 2, The effect of certain components on mood perception may be more readily discernible than others. 3-, It is likely that a consensus exists amongst children regarding the embodiment of tunes. 4. Young children seem to sense bonding characteristics between certain moods embodied in tunes.

This thesis examines, from a gender viewpoint, issues of theory and practice of dance in education in England. The emancipation, demarginalisation and integration of dance as a female and socio-cultural activity in education is a central concern of the research. The introduction to Part I describes the autobiographical context of the research which provides the basis for the discussion of theories in a multi-disciplinary approach. Theories of anthropology, history, sociology and aesthetics relevant to dance and ideologies of education relevant to dance in education are discussed. Part II presents an overview of qualitative research methodologies. After an account of applied methodologies, Part III presents empirical evidence in the form of case studies. Chapter Seven investigates the history of dance in British education from the 1950s to the 1980s. Chapters Eight to Twelve concentrate on a PGCE dance course, with three in-depth case-studies and attempt to illuminate issues of gender, of theory and practice, and of performance, competence and authority in dance in education from a gender viewpoint. The last part, Part IV, discusses implications of the findings from the empirical evidence for the future of dance in education from a gender/female viewpoint. The thesis concludes with future possible directions of dance in education.

A growing corpus of research provides evidence of the musical and non-musical benefits from choral participation, yet the preparation of individuals for their role as choral leaders and conductors within educational environments has not been given similar attention. Whilst choral leaders within schools, community or church contexts may emphasise the inadequate support mechanisms for choral education, there seem to be very few courses in the United Kingdom (UK) that deal with the preparation of choral conductors. A new socially-located, heuristic framework has been developed, influenced by the theoretical constructs of Cognitive Apprenticeship, Situated Learning, and theories of expertise, as well as educational research on effective teaching and learning within higher education and the workplace. The framework encompasses five interconnected parameters, as part of an investigation into effective choral conducting education within several educational environments in the UK. These parameters relate to biographies, expectations, values and behaviours connected with (i) the tutor, (ii) the learner, (iii) the sequence and amount of training (process of preparation), (iv) the learning outcomes and (v) the socio-cultural contexts, including the teaching contexts, where choral practice takes place. A predominantly qualitative approach has been used for the collection and analysis of the data, concentrating on the participants' written self-reflective narratives, interviews and questionnaire responses. Five choral conducting education courses have been observed; three offered within higher education and two by independent bodies. Although data analyses suggest that none of the observed courses encompassed all the ingredients suggested by the framework, the framework itself offers insights and related methods of examining choral conducting education contexts.

The purpose of this study was to investigate how partnerships between professional orchestras and schools worked with particular reference to the perceptions of teachers. Much has been written about the effects of these partnerships on orchestras and orchestral musicians, however, there has been little research regarding teachers' perceptions of the work and the effect it might have on them. At a time when orchestras are fighting for survival and there is a shortage of music teachers in schools, collaboration is seen to be beneficial to all parties. But what do teachers think? A historical survey of the work of orchestras in education provided a context for the research. A sample of schools representing different phases which had experienced projects from a range of orchestral collaborations during 2002/2003 provided three cases as contexts for investigating the teachers' perceptions. A multi-method approach was used employing both quantitative and qualitative techniques. A small-scale survey using self-administered questionnaires with closed and open questions was undertaken, followed by semi-structured interviews based on the questionnaire. Although teachers overall viewed professional orchestral musicians working in schools positively they identified a range of issues. These included the lack of value placed on the role of the teacher, and a lack of recognition of protocols such as Child Protection. Some projects left teachers feeling sidelined and deskilled. When projects worked well they were seen as an excellent resource. 3 It was seen as important to leave a legacy and maintain an on-going relationship with the orchestra. Good practice was identified and implications for further practice and research discussed with suggestions for the development of the professional musician/ music teacher partnership.

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This thesis is a study of a modern day UK conservatoire. In the context of recent debates on the purpose of higher education, I look at how discourses of purpose are constructed, confirmed and contested in the contemporary conservatoire. The analytical strategies I use to construct my research account follow a Foucauldian conception of discourse, an approach which allows me to combine historical and contemporary material to develop categories of discourse. By historical account, I show how the conservatoire model founded at the start of the nineteenth century embodies an institutionalisation of the discourse of classical music. Using interview texts and institutional literature gathered from my empirical setting, I identify continuities with the discourse of classical music in the contemporary conservatoire, concluding that the student is produced as a performer and interpreter of canonical works. I find the discourse of classical music challenged by more recent discourses on higher education, particularly that of higher education for employability and higher education for personal development. I argue that an over-reliance on these discourses produces a limiting approach to music in higher education by promoting technical and transferable skills over a critical and creative engagement with music. I advocate a return to practices which support discourses of new music and antispecialism, which challenge the performer as reverent interpreter and allow for engagement with a greater range of repertoire, new interpretative pathways, improvisation and composition. In doing so, the conservatoire could better fulfil its claim to being part of an education which is both musical and 'higher'. I locate my research within the field of higher education studies, and my research forms an original contribution to the sociology of music in higher education, a lesserused disciplinary approach to a newly burgeoning field.

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