Thesis (M.A.B.S.)--Talbot School of Theology, Biola University, 1989. / Includes bibliographical references (leaves 87-93).

Thesis (M.A.)--University of Toronto, 2006. / Source: Masters Abstracts International, Volume: 44-06, page: 2580.

Thesis (M.M.E.)--Shenandoah University, 1998. / Typescript. Supervised by: Darla Hanley. Includes bibliographical references (leaves 70-88).

Thesis (Ed.D.)--Teachers College, Columbia University, 1994. / Typescript; issued also on microfilm. Sponsor: Margaret Terry Orr. Dissertation Committee: Francis A. J. Ianni. Includes bibliographical references (leaves 125-131).

Thesis (Ed.D.)--Teachers College, Columbia University, 1970. / Typescript; issued also on microfilm. Sponsor: Gladys Tipton. Dissertation Committee: Charles W. Walton. Includes bibliographical references (leaves 219-227).

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A. Adviser: Gary E. McPherson. Includes bibliographical references (leaves 283-301) Available on microfilm from Pro Quest Information and Learning.

Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A. Adviser: Gregory DeNardo. Includes bibliographical references (leaves 264-292) Available on microfilm from Pro Quest Information and Learning.

The purpose of the study was to observe and document the manner through which eight students from two separate Grade 2 classes combined both syllabic (musical) and prosodic (word) rhythmic composing strategies during an eight week composing unit. Through the triangulation of data collected in the form of a research journal, student compositions, videotapes of composing behaviour, and transcriptions of group student interviews, integrated and music dominated group composing processes emerged, as well as four dominant trends of composing behaviour. First, a dialectical relationship between phrasal development and conception of meter was observed to exist depending upon student choice of composing strategy. Second, the influence of leadership roles was observed to play a dominant role in the determination of group composing process. Third, students exhibited differing modes of rhythmic perception during the assembly and performance stages of composition. Fourth and finally, an ambiguity regarding future preferred composing strategy was noted by students. Implications for education include the integration of cross-curricular (music and language) composing units. Further study of the influence of cooperative learning and student perception of meter within the domain of composition is recommended as children were capable of generating linguistic and musical learning opportunities “from the inside-out.”

Made available in DSpace on 2014-12-17T14:00:19Z (GMT). No. of bitstreams: 1 GiseleCS_DISSERT.pdf: 1360252 bytes, checksum: a863f982c124bc63c2e4912a947bf051 (MD5) Previous issue date: 2013-08-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / At first moment we present a reflection about the history of theater and later a contextualization of didactic movements oriented to scenic arts. Through at the constant dialogue with authors of areas involving education, theatre, corporeality and music was possible analyzing, develop and criticize a education work under my responsibility involving fourteen classes. At the second moment will occur a critical self about the quality of theater classes his contents and methodologies. The technique will be at side of the emotion and together develop skills aimed at tracing paths for theater developed at a classroom of a especific private school in Natal-RN. At the third moment one class is chosen for analyze of the academic research and many experiments happen after this decision, initiated and sensitized through of the music with a significant look at the corporeality and prioritizing the theater as content in ninth grade - elementary school two. At the conclusion is possible see that learning is mutual and the theater can become life routine as well as the arts in general and when all arts will be regularized into the national educational system for public and private schools we will have more susceptible humans and more intellectual capacity / No primeiro momento, apresentaremos uma reflex?o sobre a hist?ria do teatro e, posteriormente, uma contextualiza??o sobre as movimenta??es did?ticas voltadas para a ?rea das artes c?nicas. Atrav?s do di?logo constante com autores das ?reas que envolvem educa??o, teatro, corporeidade e m?sica, foi poss?vel analisar, desenvolver e criticar um trabalho sob minha responsabilidade que envolvia quatorze turmas. No segundo momento, decorrer? uma autocr?tica sobre a qualidade das aulas de teatro, seus conte?dos e metodologias. A t?cnica estar? ao lado da emo??o e, juntas, desenvolver?o habilidades a fim de tra?ar caminhos para o teatro desenvolvido na sala de aula de uma escola da rede particular da cidade de Natal-RN. No terceiro momento, uma turma ? escolhida para an?lise da pesquisa e muitos experimentos acontecem ap?s essa decis?o, iniciados e sensibilizados atrav?s da m?sica, com um olhar significante para a corporeidade e priorizando o teatro como conte?do no nono ano ensino fundamental II. Na conclus?o, percebe-se que o aprendizado ? m?tuo, que o teatro pode fazer parte do cotidiano das pessoas, assim como as artes em geral, e, quando todas elas forem regularizadas dentro do sistema nacional de ensino para as escolas p?blicas e particulares, teremos seres humanos mais sens?veis e mais capacitados intelectualmente

This study investigates how the philosophy of Emmanuel Levinas might shape practice in music education. In a climate of accountability and performativity within wider educational policy-making, the drive for ever-increasing efficiency has overtaken notions of professional judgement and ethical practice. This study opens by introducing current strands of international meta-policy priorities in education, and explores moves to redress the emphasis on standardisation and accountability through the rediscovery of notions of responsibility in the work of Biesta drawing on Bauman (1993), who in turn finds a way forwards in Levinas’ ‘ethics as first philosophy’. Emmanuel Levinas is introduced as a major thinker of the twentieth century whose influence is increasing throughout social science disciplines and who, writing firstly as a teacher, provides valuable philosophical tools with which to investigate current practices in education. Over the past three decades competing paradigms for music education have tended to polarise rather than ground thinking in music education research. More recent notions of music-making as ethical encounter (Bowman, 2000) and as the practice of hospitality (Higgins, 2007) have taken forwards Small’s relationship-oriented conceptualisation of ‘musicking’ (1998), and these provide the starting point for this study’s search for an ethical underpinning for music education. Levinas’ first major work (1969) provides two key strands of thought – the polarities of totality and infinity, and the exhortation to ‘look into the face of the Other’. These tools open up explorations of how pupils encounter difference, the unfamiliar, and of how narrow conceptions of learning in the music classroom may be understood as an ethical problem. At the heart of this study is the report of ethnographically-informed fieldwork undertaken in a Scottish secondary school, following a group of 13-year-olds through an academic year of class music lessons. Participant observation and semi-structured interviews were methods employed alongside participant self-documentation in order to gather pupils’ experiences and perspectives on how they encounter the Other through their music-making at school and in their everyday lives. A critical realist theoretical framework enabled the experiences and perspectives of pupils to be set within a deep, layered conception of social reality, uncovering the dynamic interplay of structural forces and pupil agency. Through the lens of Levinas’ philosophy pupils’ ‘practices of facing’ were brought to light and conceptualised as agential. ii From these ‘practices of facing’ the study’s conclusions are drawn. Music-making is conceptualised through terms in which Levinas spoke of language, as having as its first impetus a reaching out to the Other, ‘putting a world in common’. This grounds, and is generative of, an epistemological diversity within which aesthetic and praxial approaches are anchored in one underlying, ethical orientation, where the attentiveness and openness of aesthetic sensitivity are as significant as the developing of skills and competencies in enabling an ever-deeper entering-into ‘infinity in the face of the Other’. This study offers a critique of the present educational environment which prioritises predetermined outcomes and narrow models of knowing, thereby, according to a Levinasian view, legitimising practices of violence and domination, and sets out an alternative orientation, where richly contextualised learning in the music classroom and a radical openness might allow for an infinity of possibility to break in.