Thesis (M.Arch.)--University of Hong Kong, 2001. / Includes special report study entitled : Acoustics and its relation with architecture. Includes bibliographical references. Also available in print.

Thesis (DMA)--Boston University. / Bibliography: p. 589-631.

This study investigates the 'learning cultures' of a UK conservatoire of music. As educational institutions; conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, existing research has paid little attention to indepth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. To address this gap, the study adopts the conceptual lens of 'learning cultures'. Acknowledging recent research in further education, 'learning cultures' are conceptualised not as the contexts in which people learn, but as the practices through which people learn. As such, the study aims to understand the characteristic practices of the conservatoire and its members, the ways that learners participate in, construct and learn from such practices and, thus, the constructed nature of the conservatoire's learning cultures. Methodologically, the study is grounded in constructionism and draws on the thinking of Pierre Bourdieu. In particular, Bourdieu's notions of habitus, capital and field are used as 'thinking tools' through which to access and understand 'learning cultures'. The research comprised an ethnographically-informed qualitative case study of one UK conservatoire. In the quest for in-depth understandings, a family of four methods was employed: semistructured interviews, participant observation, document analysis and participant selfdocumentation. Data were analysed using a framework that moved between inductive data-driven thematic analysis and Bourdieu-informed interpretation, with emphasis given to the socially constructed nature of 'learning cultures'. The key findings of the study are divided into three interrelated parts: the organisational, curricula and spatial practices of the conservatoire, the practices of the conservatoire's students, teachers and staff and the ways in which different learners participate in, construct and learn from these practices. Drawing these parts together, the study concludes that (1) the nature of the conservatoire's learning cultures is manifested across four intertwined features: cultures privileging the development of specialised performers, cultures of social networking, cultures of musical hierarchies and cultures of vocational position taking and (2) the conservatoire's learning cultures are constructed in different ways for differently positioned learners, appearing to privilege those 'superstar' students who visibly demonstrate high levels of symbolic cultural and social capital. In a climate where the call to 'change the cultures' of conservatoires is oft heard, the learning cultures of this particular conservatoire reveal practices that do not always appear to reflect a rapidly changing musical field. Implications of the study are discussed, and recommendations made for the introduction of creative, reflective and leadership spaces for learning in the conservatoires of the future.

Music conservatories are central institutions to the field of classical music. In them, aspiring professional hone their craft, renowned musicians pass on their expertise to upcoming generations, and notions of exactly who and what is considered “musical” are forged and disseminated. However, the apparently self-evident place of conservatories in modern cultures of classical music obscures their historical novelty—it is only since the latter nineteenth century that these institutions have become a pervasive force in classical music pedagogy and culture. This dissertation explores this revolution of institutionalized training in classical music by analyzing the history of German music conservatories over a roughly ninety-year period, from the founding of the Leipzig conservatory in 1843 to the Nazi takeover of power in 1933. Combining archival research, extant musicological scholarship, and theoretical and methodological approaches developed in a variety of social scientific and humanities disciplines, each chapter traces and historicizes a key development in modern music-pedagogical thought and practice: 1) the crystallization of a set of pedagogies designed to produce competency in the performance of canonical musical works; 2) the development of music education as a discipline; 3) the emergence of ear training; 4) the rise of Émile Jaques-Dalcroze’s method of rhythmic gymnastics. Throughout, I show that conservatories not only served to reproduce specific musical practices (such as the faithful performing of musical works, or Werktreue), but that they also functioned as incubators for new ways of thinking about human musicality and the pedagogies that would produce it. In particular, the latter chapters outline central features of what I call the “psychotechnical turn” in music education in the decades surrounding 1900, arguing that this resulted from growing connections between conservatory pedagogy and the psychological sciences.

This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.

This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.

published_or_final_version / Architecture / Master / Master of Architecture

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / A set of design studies examines the ways in which the ongoing, routine activities of an educational institution may inter act with a variety of ceremonial public gathering events related to its curriculum, through the shared physical presence of its building facility. An existing music school is analyzed to provide a source for introductory design in formation. Concurrently, some similar buildings are examined to facilitate generalized analytic observations. The above two steps form a foundation for a schematic design exercise intended as a vehicle to illuminate some of their possible formal consequences. Graphic documentations include fragments or design process steps and the resulting schematic design proposal. / by Hiroshi Yoneyama. / M.Arch.

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Thesis (M. Arch.)--University of Hong Kong, 2002. / Includes special report study entitled: Landscaping. Includes bibliographical references.