<p> As researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guitar class is an effective way to include students with special needs in a music program. </p><p> This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.</p>

<p> The purpose of this study was to examine the effectiveness of standards-based assessment practices within a music performance curriculum. This pre-survey, post-survey experimental treatment included 169 students, 97 parents, and 3 teachers from 3 school districts across Wisconsin. The results from this study indicated that music teachers rely on a variety of assessment strategies to monitor student achievement regardless of if they are using standards-based assessment practices; however, teachers who used standards-based assessment were more likely to use formal assessments to determine student achievement and were more likely to assess students both formally and informally on a regular basis. Furthermore, when standards-based practices were implemented students' awareness of the learning target increased. Students also became less reliant on teacher feedback in determining their success but valued the feedback that was received at a higher level. Finally, parents relied on both online gradebooks, and conversations with their child regarding student achievement. </p>

<p> The purpose of this study was to examine children's musical and mathematical behaviors as they participated in an interdisciplinary pre-K curriculum. Research questions were: 1. What connections&mdash;if any&mdash;do young children make between music learning and mathematics learning? 2. Is there a relationship between young children's emergent rhythm development and emergent numeracy development? </p><p> To address these questions, a concurrent embedded mixed-methods design was utilized. One intact class of 14 preschool children were observed at predetermined points throughout the Spring 2012 semester through participant observation and video footage of music classes, math activities, and other times where music was used in the curriculum. Interventions for classroom and music teachers were intended to foster developmentally appropriate practice in music and mathematics. Music aptitude and pre- and post-test measures of early music rhythm achievement and early numeracy achievement were correlated to embed a quantitative dimension. </p><p> Observed rhythm responses included movement such as (a) continuous, free-flowing motion during songs; (b) steady beat motions of bouncing, tapping, and clapping; and (c) rhythmic body motions of tapping or clapping rhythm patterns; chanted responses of (a) echoed rhythm patterns, (b) improvised rhythm patterns, and (c) parts of poems. Sung responses included singing with a light quality in initial singing range, as well as resting tone and tonal patterns. Mathematical responses included subitizing, one-to-one correspondence, counting fingers, forward and backward verbal counting, and using finger patterns to count on, and add and subtract numbers less than 10. </p><p> Limited, but supportive quantitative evidence was found regarding the relationship of early rhythm and early mathematics development. Emergent themes, <i> community of learning and sharing, expanded social conventions,</i> and <i> reinforcement of learning,</i> revolved around current thought that learning is both individually and socially constructed. That some children express themselves more readily through music and others through mathematics was supported; carefully selected song literature that meets both music learning and mathematics learning objectives can elicit observable musical and mathematical responses and may reinforce learning connections. Recommendations include replication with a design that addresses limitations of the present study and increased music and math pedagogy courses and professional development for pre-K classroom teachers.</p>

<p> This work explores the occurrence of school sponsored rock music ensembles and pedagogy in secondary education within the state of New Jersey. The purpose of this research was three&ndash;fold: 1) to document the occurrence of rock music performance ensembles in New Jersey secondary schools, 2) to highlight the details of a select group representing a sample of these programs, and 3) to contribute to the body of knowledge relating to rock music in the school curriculum. A two part, mixed&ndash;methods research process involved the use of both a quantitative survey instrument and a qualitative interview process. The part one survey was distributed to 720 public secondary schools across the state of New Jersey. Questions were written to seek data regarding school population, budget, types of music programs available to students, regional classifications, and enrollment. Based on survey data, five programs, in which students learn and perform rock music using authentic rock music instrumentation, were selected for part two faculty interviews. These interviews uncovered reasons for the existence of these programs (i.e. teacher and student interest), information about student participation, instrumentation, relationships to the other music programs within the school, intended outcomes, measures of success, and the existence of authentic learning, informal learning practices, and the concept of bi&ndash;musicality.</p>

<p> This thesis examines the impact of music on people from a depth-psychological perspective and explores how music can deeply touch and change clients&rsquo; lives and allow for healing. In so doing, this thesis will contribute to increased understanding of the need for music therapeutically. Utilizing qualitative methodology and a hermeneutic approach, this thesis considers the significant impact of music on the body, brain, mind, spirituality, and emotions, and examines how music can be used as a healing power. The research question guiding this thesis is: How can music be used in a client&rsquo;s therapeutic process to allow for the needed healing? The results explain what music therapy is and how it is used therapeutically, and how it promotes healing while bringing a greater understanding and appreciation for music therapy.</p>

<p> The rate of playing-related neuromusculoskeletal disorders (PRNDs) in advanced pianists remains consistently high worldwide, often limiting or ending study and playing careers. Injured pianists&mdash;desperate for solutions&mdash;seek out allegedly scientifically-informed approaches to developing injury-preventive technique but none of these approaches have been seriously investigated. This mixed-methods study investigated one interdisciplinary, non-traditional approach (the &ldquo;Method&rdquo;) that had received considerable anecdotal support but had not been studied systematically to ascertain its efficacy in recovering from and preventing recurrence of PRNDs, as well as its effects on technique, musicality, and extra-musical factors. Participants included undergraduate and graduate students, independent piano teachers, college teachers, and professional pianists and organists who had studied the Method for at least two academic semesters between 1990 and 2015. An anonymous survey was administered to 103 pianists and organists aged 22 to 82, with 74 (<i>N</i>=74) pianists responding (71.8%), and 26 pianists and organists were interviewed in-depth. Survey and interview results established that participants perceived the Method as significantly helpful in facilitating recovery from PRNDs. Significance of relationships among codes included correlations of .70 between the code &ldquo;it works&rdquo; and &ldquo;playing without injury,&rdquo; and .66 between &ldquo;it works&rdquo; and &ldquo;playing again.&rdquo; Interviewees also perceived the Method as helpful in preventing recurrence of PRNDs, as shown by the high correlation between the codes &ldquo;will help prevent injuries&rdquo; and &ldquo;learned a lot from studying the Method&rdquo; (.67). A one-sample t-test performed on the survey data also showed a positive perception (p &lt; .001) of the Method in helping recovery from and prevention of recurrence of PRNDs. Additionally, both the survey and interview participants reported improvement of technique and musicality with many also reporting enhancement of their extra-musical lives. A one-sample t-test on the survey data showed these improvements to be significant at a 5% level or better. Research also yielded data on psychological, emotional, and professional challenges to learning the Method, as well as reactions to specific aspects of the Method. It is hoped that the data might serve as a baseline and become a useful model for the investigation of other approaches for teaching injury-preventive piano technique.</p>

<p> As rapid demographic change transforms American classrooms, incongruities between the ways culturally diverse students are accustomed to learning and those emphasized in educational institutions can present barriers to learning. This study investigated culturally responsive pedagogy (CRP), a teaching approach that seeks to ameliorate such incongruities by basing instruction upon students' cultural knowledge, frames of reference, and preferred learning, communication, and performance styles (Gay, 2002). To complement studies that examine teachers' perceptions of CRP, this study sought to illuminate student perspectives. Accordingly, the purpose of this study was to explore adolescent choral students' perceptions of culturally responsive teaching in an urban community children's choir. Research questions focused on how students perceived their choir experiences to be informed by cultural diversity, the barriers to CRP they identified, and how CRP influenced relationships between students' musical and cultural identities. </p><p> A multiple embedded case study design was used to investigate students' perceptions of CRP as practiced in three demographically contrasting choirs within an urban children's choir organization. Within each choir site, one teacher and three student participants framed the analysis. Data generation methods included semi-structured interviews, ethnographic field notes, autobiographical notes, and collection of material culture. </p><p> Students perceived their choral instruction to be culturally responsive in that their classroom experiences promoted understanding and appreciation of their own cultures while broadening their cultural, musical, and intellectual horizons. They identified three barriers to CRP: educators' lack of comfort teaching diverse music, the complexity of students' cultural identities, and the challenges involved in practicing CRP equitably given constraints on instructional time. In one site, experiences with diverse music were peripheral to a Eurocentric core curriculum and did not promote connections between students' musical and cultural identities. There, the discourses associated with Western classical singing defined students' identities and alienated some students from the belief that they were musicians. Two sites incorporated a greater range of discourse norms associated with singing diverse musics and featured greater responsiveness toward the cultural backgrounds of particular students. In those sites, CRP fostered intersections between students' musical and cultural identities by meaningfully bridging their musical experiences inside and outside of the classroom.</p>

<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra). </p><p> The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.</p>

<p> The current study examined the role of music in Mandarin vocabulary learning in a Mandarin immersion preschool setting. The goal was to find out how children learn Mandarin with and without music. Using a pre-test/post-test design, I first identified 5 Mandarin words that most children did not know, and then divided children into two groups: the experimental group were taught the 5 words using pictures and song, and the control group learned the same words by pictures and the same song with the melody removed. In the post-test, I asked children of each group "Which one is the XX" in Mandarin and each child pointed to the picture of what they thought was XX. My results show that both groups learned new words; however, children in the non-music group learned more words than children in the music group. These results demonstrate learning from a short-term intervention, but also raise questions about the role of the language's tonality in the effectiveness of using music for word learning.</p><p> <i>Keywords:</i> immersion school, music, vocabulary learning, Mandarin</p>

<p> Self-evaluation accuracy is a necessary component of music learning. Without it, students rely on teacher feedback and do not develop skills necessary to become independent learners. While research has indicated that self-evaluation is unreliable and inaccurate, peer-evaluation has been shown to have the potential to be both reliable and accurate. Using social constructivist theory and transfer theory as conceptual frameworks, this study investigated the effects of peer-evaluation on self-evaluation skills in the music classroom.</p><p> Pretest and posttest self-evaluation scores of 42 ninth grade band students were compared with three teacher mean scores. Results found students made a slight improvement in self-evaluation accuracy after five peer-evaluations given over 10 weeks. Qualitative analysis of student feedback from peer-evaluations found students improved in both precision and use of musical language and vocabulary. To further investigate students' perception of peer-evaluation, two focus group interviews were administered.</p><p> Emerging themes suggested students have a positive impression of peer-evaluation. They found it to be a team building and motivating activity that made them want to be both honest and critical with their peer feedback. Peer-evaluation allowed students to be part of the learning process that helped them build confidence in their evaluation skills. Students found peer-evaluation to be an effective tool for developing critical thinking skills, specifically analytical listening, and were able to cite examples of how skills used and learned during peer-evaluation were transferred to their own self-evaluation skills. </p><p> As there is little research on peer-evaluation and music at the high school level, it is the hope that this research will provide a foundation for future research of peer-evaluation at all grade school levels and in all ensemble genres. In addition, this research will hopefully support the introduction of peer-evaluation as a methodology to be taught to pre-service teachers and to help dismiss previous negative notions about peer-evaluation to in-service music teachers, shedding light on the positive impacts of peer-evaluation and its possible uses with students in the music classroom.</p>