This study is based in my own passion for music theory combined with my experience in practicing of and engaging with hip-hop music and culture. Seeing as the music theory curriculum in Sweden is heavily based on traditional western music this study asks the question: “how does traditional western music theory show itself in hip-hop music?”. The study is due to its smaller scope focused on three musical parameters, these being: rhythm, chords, and form. The study consists of a newly created curriculum based on a number of different hip-hop songs and how they could be used in music theory education followed by a qualitative deductive analysis of said curriculum. Analyzing the music examples through the lens of music didactics showed that the use of hip-hop music in music theory education could serve as bridging a cultural gap between teacher and students; lead to interesting discussions about musical form, as well as engaging students who might not have a previous connection to the culturally traditional music. / Studien grundar sig i min egen passion för musikteori kombinerat med min erfarenhet av att utöva och engagera mig i hiphop både som musikgenre och subkultur. Musikteoriundervisningen i Sverige baseras på traditionell västerländsk musikteori och studien ställer därför frågan: "hur tar sig traditionell västerländsk musikteori uttryck i hiphopmusik?". I och med studiens mindre omfång undersöks endast tre musikaliska parametrar, dessa är: rytm, ackord och form. Studien består av ett nyskapat undervisningsmaterial baserat på ett fåtal låtexempel ur musikgenren hiphop och hur de kan användas i musikteoriundervisning, följt av en kvalitativ, deduktiv analys av tidigare nämnda undervisningsmaterial. Genom att analysera låtexemplen utifrån musikdidaktik som teoretiskt perspektiv visade studien att användningen av hiphopmusik i musikteoriundervisning kan leda till: att minska ett kulturellt gap mellan lärare och elev; intressanta diskussioner kring musikalisk form; samt engagera elever som kanske inte har en tidigare koppling till den kulturellt traditionella musiken.

This study views the Field Band Foundation’s activities through the lens of artistic citizenship. The aim of this study is to create an expanded theoretical framework for music education as/for artistic citizenship by analysing the related literature and data gathered from the Field Band Foundation in the Gauteng area. In Another Perspective: Music Education as/for Artistic Citizenship Elliott (2012a) gives practitioners three goals to realize if they wish to empower participants to achieve artistic citizenship. These three goals may be summarized as: 1) putting music to work in the community 2) infusing music with an ethic of care and 3) making music as ethical action for social justice. These three goals served as the initial compass during the conception and analysis stages of this study. This study was designed as an instrumental case study. The eclectic data set is made up of literature, interviews, documents, visual and audio-visual data gathered from March 2013 to July 2014. Atlas.ti7 was used to analyse the data. A preliminary theoretical framework was created from the literature. In this framework each of the three themes, expressed through Elliott’s goals, are expanded to include various categories. This framework was used as a priori codes to better understand artistic citizenship as lived in the Field Band Foundation. During the analysis of the data gathered from the Field Band Foundation the categories identified in the literature was expanded to include sub-categories. After analysing the data, gathered in the Field Band Foundation, an expanded theoretical framework for artistic citizenship was created. From the view point of artistic citizenship a community music education project, such as the Field Band Foundation, is shown to empower participants to achieve personal and communal transformation. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This study views the Field Band Foundation’s activities through the lens of artistic citizenship. The aim of this study is to create an expanded theoretical framework for music education as/for artistic citizenship by analysing the related literature and data gathered from the Field Band Foundation in the Gauteng area. In Another Perspective: Music Education as/for Artistic Citizenship Elliott (2012a) gives practitioners three goals to realize if they wish to empower participants to achieve artistic citizenship. These three goals may be summarized as: 1) putting music to work in the community 2) infusing music with an ethic of care and 3) making music as ethical action for social justice. These three goals served as the initial compass during the conception and analysis stages of this study. This study was designed as an instrumental case study. The eclectic data set is made up of literature, interviews, documents, visual and audio-visual data gathered from March 2013 to July 2014. Atlas.ti7 was used to analyse the data. A preliminary theoretical framework was created from the literature. In this framework each of the three themes, expressed through Elliott’s goals, are expanded to include various categories. This framework was used as a priori codes to better understand artistic citizenship as lived in the Field Band Foundation. During the analysis of the data gathered from the Field Band Foundation the categories identified in the literature was expanded to include sub-categories. After analysing the data, gathered in the Field Band Foundation, an expanded theoretical framework for artistic citizenship was created. From the view point of artistic citizenship a community music education project, such as the Field Band Foundation, is shown to empower participants to achieve personal and communal transformation. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

There is growing evidence to suggest that group singing in the community can have positive outcomes for physical and psychological wellbeing. To date, research has focused on adult populations. This study aimed to add to existing understanding of the impact group singing can have on children’s psychological wellbeing. A mixed method study was carried out to investigate the impact of a community group singing project on the psychological wellbeing of school children in the London area. Self-rated measures of psychological wellbeing and identity as a singer were administered to 60 children aged 7-11 at three time points. A teacher-rated measure of psychological difficulties was also administered. Finally, a sample of children discussed their experience of the project in focus groups and music teacher interviews were carried out. Quantitative data did not confirm the hypothesis that choir member’s psychological wellbeing would increase following participation in the singing project. Identity as a singer scores were higher for females than males, and correlated with scores of psychological wellbeing. Qualitative data provided evidence for a range of beneficial outcomes for children. Research limitations: The small number of participants recruited for the non-choir control group is a significant limitation of quantitative methods in this study. Originality: Although group singing appears to be a positive experience for children who participate, findings suggest the impact may be more subtle for children with high levels of psychological wellbeing.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Community music is at the innermost heart of any music society, yet its generally informal training structures have rendered it somehow second-class in the general view. South Africa‟s formal education structures have tended to favour the elite at the cost of those who are historically deprived, a pattern which developed centuries before the advent of legal Apartheid. This lack of official favour may be the source of the intensity of community music development in the Western Cape, a locus of cultural and ethnic diversity remarkable even in South Africa. Brass instruments, with their inherent portability and relative affordability, have been at the heart of much church music in the past two hundred years. For the Salvationists, the brass band has long been the „peripatetic organ‟ for use at services indoors or outdoors. For the German-related churches, the Posaunenchor, now a brass choir, fulfils many of the same functions. These and other informal structures like them tend to reproduce themselves by means of „apprenticeship‟ of novitiate players to experienced bandsmen. A substantial number of church-trained players have become professional in the context of military bands in the Cape and elsewhere in South Africa. Some have, with more formal training, become symphonic instrumentalists of considerable rank in South Africa. This dissertation sets out to describe the milieu from which brass-players have emerged when formal instrumental instruction has been unavailable to them. It describes past and current efforts to bolster and upgrade brass training for youth, and the ways in which this couples with social upliftment for youth. Perhaps most importantly, it furnishes information and tools for South Africa to join fully with international efforts to research the phenomena of community music and to better understand their significance.

Thesis (MMus)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Community Music is a vibrant and growing field within the South African context and exists across various practices and settings. Community Music Programs in the Western Cape and more specifically the greater Cape Town area, are on the rise and often serve as outreach and educational initiatives to uplift participants from previously and currently disadvantaged communities by engaging in various musical activities. Though many Community Music Programs start successfully they fail to be sustainable due to various factors which are often never documented. Programs which include more formal aspects of music education such as those that function as Community Music Schools, experience unique successes and challenges that serve as factors which contribute towards their sustainability. Two Community Music Programs whose roots were established in outreach and whose goals also include that of providing quality music education are the Athlone Academy of Music and the Western Cape Music Education Project, which serve as case studies for this thesis. Both programs have evolved from outreach projects to currently serving as Community Music Schools within their respective areas of Athlone and Kuils River and have proven to be major contributors to the landscape of music education in the greater Cape Town area. Their contribution stems not only from their continued existence for almost two decades and their output of successful current and past students, but they also provide researchers with opportunities to document aspects of Community Music within the South African context. The Athlone Academy of Music and the Western Cape Music Education Project, in existence for twenty and eighteen years respectively, have witnessed significant changes to their infrastructure, management, and funding since the last studies conducted on them in 2009, and have continued to exist in a competitive funding environment which constantly poses a threat to their sustainability. Although both programs are faced with distinct funding shortages, their continued existence has shown that factors that contribute towards sustainability may not be related to funding. This study documents the current situation of both case studies, describing their challenges and successes from the viewpoint of key stakeholders. To achieve the objective of this research, qualitative methods of data collection were used and included semi-structured interviews, field notes and observations. The study established that there are multiple factors that influence the sustainability of the two Community Music Schools. Another important result is that this study provides documentation on the evolution of two established Community Music Schools as well as information vital to gaining a better understanding of the successes and challenges of such programs and their links to factors of sustainability. The results of this study provide opportunities for further areas of research regarding Community Music in the South African context. Keywords: Sustainability, Interaction, Community Music, Community Music School, funding, successes, challenges, project leaders, teachers, partnerships. Stellenbosch University https://scholar.sun.ac.za / Gemeenskapsmusiek is ‘n florerende en ontwikkelende veld binne die Suid-Afrikaanse konteks en strek oor verskeie praktyke en omgewings. GMPe in die Wes-Kaap, en meer spesifiek die groter Kaapstad-gebied, is besig om op die voorgrond te tree en dien telkens as uitreikings- en opvoedkundige inisiatiewe om diegene van voorheen en tans benadeelde gemeenskappe deur middel van betrokkenheid in verskeie musiekaktiwiteite, op te hef. Alhoewel talle GMPe aanvanklik suksesvol is, is die sukses onvolhoubaar weens verskeie faktore wat dikwels nie gedokumenteer is nie. Programme wat meer formele aspekte van musiekopvoedkunde insluit, soos programme wat as GMSe funksioneer, ondervind unieke suksesse en uitdagings wat as faktore wat tot hul volhoubaarheid bydra. Twee GMPe wie se ontstaan in uitreiking gegrond is, en wie se doelwitte ook die voorsiening van gehalte musiekopvoedkunde insluit, is die Athlone Academy of Music en die Western Cape Music Education Project, wat as gevallestudies vir hierdie tesis dien. Beide programme het vanuit uitreikingsprojekte ontwikkel en dien tans as GMSe binne hul onderskeie gebiede van Athlone en Kuilsrivier en het sodoende 'n groot bydrae tot die landskap van musiekopvoedkunde in die breër Kaapstad-gebied verskaf. Hierdie bydrae spruit nie slegs uit hul voortbestaan van byna twee dekades, asook die sukses van hul oud - en huidige studente nie, maar hulle bied ook aan navorsers die geleentheid om GM binne die SA konteks aante teken. Die Athlone Academy of Music en die Western Cape Music Education Project, in bestaan vir twintig en agtien jaar onderskeidelik, het sedert die laaste studies wat in 2009 behartig is, belangrike veranderinge tot hul infrastruktuur, bestuur en befondsing ondergaan, en het te midde van 'n mededingende omgewing in terme van befondsing, wat voortdurend 'n bedreiging vir hul volhoubaarheid inhou, voortbestaan. Alhoewel beide programme met onmiskenbare gebrek aan befondsing gekonfronteer word, dien hul voortbestaan as bewyse dat die faktore wat tot hul volhoubaarheid bydra ook nie noodwendig met befondsing verband hou nie. Hierdie studie dokumenteer die huidige situasie van beide gevallestudies waarin hul uitdagings en suksesse vanuit die oogpunt van die belanghebbendes beskryf word. Om die doel van hierdie navorsing te bereik is kwalitatiewe metodes van data-insameling gebruik wat semi-gestruktureerde onderhoude, veldnotas en waarneming ingesluit het. Deur van hierdie metode gebruik te maak het die studie vasgestel dat verskeie faktore die volhoubaarheid van die twee GMSe kan beïnvloed. Nog 'n belangrike uitkoms van die navorsing is dat hierdie studie dokumentasie omtrent die ontwikkelingsgang van die twee GMSe verskaf, asook inligting noodsaaklik tot 'n beter begrip van die suksesse en uitdagings van soortgelyke programme en hul verbintenis tot volhoubaarheidsfaktore. Die uitkoms van hierdie studie verskaf geleenthede vir verdere areas van navorsing ten opsigte van GM binne die Suid-Afrikaanse konteks. Sleutelwoorde: Volhoubaarheid, Interaksie, Gemeenskapsmusiek, Gemeenskaps-musiekskool, bevondsing, suksesse, uitdagings, projekleiers, onderwysers, vennootskappe Stellenbosch University https://scholar.sun.ac.za

The purpose of the study was:1. To develop an inventory of music teacher roles which pertained to the setting, community schools of the arts (CSAs).2. To discover how music teachers perceive their actual job roles vs. their ideal job roles in CSAs.An instrument was structured using the roles found in the work of Onderdonk (1995), Barnes (1972), Moller (1981), White (1964), and input from experts. Roles were categorized into three areas: community, school, and professional. The population of teachers was drawn from member schools of the National Guild of Community Schools of the Arts (NGCSA) for the year 2005-2006. The final study population consisted of 139 CSA teachers from 16 schools across the USA.Overall, teachers indicated that roles in the professional category were and should be performed more often than community and school roles. The school and community categories were deemed equal to each other (actually and ideally). Teachers indicated that community, school, and professional roles in CSAs were complex, consisting of 31 roles (7 community, 10 school, and 14 professional). A ranked and tiered inventory of the 31 valid roles and a portrait of the CSA music teacher were created. As an aggregate, teachers ideally desired to increase the frequency with which they performed the following roles: Advocate, Attendee of Faculty/Committee Meetings, Attendee of School Activities, Performer/Demonstrator/Coach, and Student/Lifelong Learner. As an aggregate, teachers desired to decrease the frequency with which they performed the role of School Leader. Teachers indicated balance in regard to modeling, performing, parental education, discipline, tradition, and leadership.Implications for CSA administrators, personnel of the National Guild of Community Schools of the Arts, teacher educators and trainers, and future research include: finding paths to develop part-time leaders, developing content for coursework and professional development specific to CSA teachers, and promoting awareness that investment in current/future teachers should be given similar value and energy to fundraising efforts. In order to educate/train future CSA teachers, coursework which includes preparation as instrumental/pedagogical experts, as well as content which provides training in educational philosophy, history, curriculum development, role modeling, culture, and technology were recommended.

The purpose of this study was to ascertain certain factors which lead adults to participate in community band activity. This study attempted to answer the following questions: 1. What are the factors of rewards for community band participants based on the responses of a selected sample to validated attitude statements? 2. What are the relationships that might exist between certain demographic characteristics of the sample such as age, gender, education, occupation, musical training, geographic region (independent variables) and factors of participation (dependent variables) determined by principal components analysis? 3. What are the relationships that might exist between the findings of this study using member generated attitude statements and the findings of other attitude studies using researcher generated attitude statements? A 179-item survey was developed from an initital pool of 839 attitude statements after two pilot studies and an expert review. A randomly selected, stratified cluster sample of 74 organizational members of the Association of Concert Bands participated in the study. The average number of band members present during the survey process was 35. The average number of surveys returned per band was 23.66 for a return rate of 65.9% One thousand seven hundred twenty five individuals participated in the study. Frequency distributions of responses revealed the 36-50 age group to be the most represented (33%) followed closely by the 51-65 age group (27.8%). Males outnumbered females (57.5% to 42.3%). Over 80% of respondents were married. Almost 75% of respondents were college graduates. Over 60% had performed in college ensembles. Over half (55.4%) of respondents were either employed in the professional trades or white collar occupations. Almost 10% considered themselves professional musicians. Principal components analysis of the 179 items yielded six main factors of participation which were labeled Intrinsic Motivators, Organizational Motivators, Membership Standards, Repertoire/Conductor, Rehearsals/Performances, and Quality. Further analysis of Intrinsic Motivators yielded five second level components which were labeled Self-Growth, Musical Growth, Community Pride, Social Rewards, and Conductor. Second level components extracted from Organizational Motivators were labeled Attendance/Practice, Community Support, and Music Selection. Using t-tests and ANOVA, many significant relationships were found between groups on the six main factors and eight sub-factors (independent variables) with the demographic variables (dependent variables), especially age, gender, occupation, level of ensemble experience, past geographic region, present geographic region, and community size.

Målet med denna studie var att beskriva mammors upplevelser av babyrytmik och teoretiskt förankra denna beskrivning i ett samhällsinriktat musikterapeutiskt perspektiv. Fem (5) halvstrukturerade djupintervjuer med en medellängd på 45 minuter utfördes under vintern 2012 och analyserades enligt en hermeneutisk förståelseprocess. Mammorna var i medeltal 32 år och högt utbildade.Den gemensamma glädjen i att få sjunga, leka och finnas i musik tillsammans med sitt barn och ha en gemensam hobby värdesätts högt av mammorna som alla prioriterar hobbies med musik. För en stund är det någon annan som tar över ansvaret, en ledare som skapar klara strukturer med musik. Mammorna får slappna av och njuta tillsammans med sina barn. De berättar att babyrytmiken stimulerar till att börja sjunga, sjunga oftare och sjunga längre tid med barnen samt ger dem tillåtelse och inspiration till att privat improvisera och småsjunga hemma tillsammans med sina barn. Att få se sina barn utvecklas socialt, kunna jämföra sitt eget barns utveckling med andra barns och att få vara med som en trygg boj i barnens nyfikna första möten med ett omgivande samhälle är viktiga orsaker till att mammorna deltar och fortsätter delta i babyrytmik.Resultaten tolkades utgående ifrån ett salutogent perspektiv med både anknytningsteoretiska resonemang och ett samhällsinriktat musikterapeutiskt fokus. Babyrytmik som en av barnets första trygga, glädjefyllda kontakt med en omgivande musikalisk tradition tolkades teoretiskt med hjälp av en samhällsinriktad musikterapeutisk modell som beskriver utvecklingen från musik i dyaden, i denna studie mamman och barnet, mot ett musikaliskt samhälle.Konklusionerna av denna studie blir att den teoretiska förståelsen av hur musik kan användas i arbete inom familjer och med föräldrar och barn har all potential att utvecklas. / The aim of this study was to describe mothers ́ experiences of mother-child music groups in the theoretical frameworks of community music therapy. Five (5) semi- structured interviews with a mean duration length of 45 minutes were obtained during winter 2012 and hermeneutically processed. The mothers were highly educated women with a mean age of 32 years.The mothers in the study all prioritise hobbies that include music and they highly appreciate the common joy in singing and playing with their children. The clear structure in both music and created by the leader allows the mothers to fully relax and enjoy the music with their children. The results indicate that the music group activities support the private musical improvisations in the homes. Musical group activities give the mothers opportunities to support their children in one of their first encounters with a musical society and watch the child socially develop.The results were interpreted in a salutogenetic framework, focusing on both attachment theory in a music context and community music therapy. Mother-child music groups were theoretically grasped in this study by a community music therapy model, offering a theoretical explanation to the development from a dyadic relation (mother-child) towards a musical community.The conclusions of this study indicate that the theoretical framework for understanding how music can be used among families and with parents have clear potential to develop.

Section A is a critical review of empirical literature pertinent to the impact of community music projects (CMPs) on the interpersonal functioning of those with complex mental health needs living in the community. Section B presents a qualitative study exploring the interpersonal experiences of ten outpatients with complex mental health needs participating in a CMP. Background: Although participation in CMPs has been associated with improved interpersonal function amongst clinical and non-clinical populations their effects on outpatients with complex mental health needs are not clearly understood. Aims: The current study aimed to explore how outpatients with complex mental health needs experience, perceive, understand and respond to interpersonal interactions whilst participating in a CMP. Method: Participants included 10 outpatients with complex mental health needs, who had attended a CMP for at least 6 months. They completed a semi-structured interview concerning interpersonal experiences and the project’s impact (if any) on such experiences. Interpretative Phenomenological Analysis was utilised (Smith, Flowers, & Larkin, 2009). Results: Interpersonal experiences of participants were conceptualised as master themes involving hope for social interaction, non-musical interpersonal experience, musical interpersonal experience, wider community experience, belonging, esteem and positive identity. Conclusion: Interpersonal learning, bridging capital and the development of self-concept components may be experienced in relation to CMP participation. The importance of social context assessment to client formulations and interventions and the need for further longitudinal, qualitative research in this area is implicated.