Includes bibliographical references (leaves 19-45). / Digitized by Kansas Correctional Industries

The beginning of teaching, when you start to form the future musician, is very important time from which further luck and failure depends. Although there are various circumstances in which child needs more learning motivation. Work theme – the role of ensemble playing by consolidating children’s music learning motivation. The aim of the work – to cognize the role of ensemble playing by consolidating children’s music learning motivation. This aim is realized by doing the pedagogical and psychological analysis of ensemble playing features theory, evaluating the role of ensemble playing by consolidating children’s music learning motivation and learning results, summarizing the results of theoretical analysis and empirical research. This research helps pedagogues to solve hard educative problem of children motivation of learning to play with instrument individually. One of the main problems – how to strengthen children’s music learning motivation effectively making the most of ensemble playing features. Making empirical researches the qualitative ((essay writing, pedagogical observation, conversations with the members of an orchestra), questionnaire (children and teachers) methods were used. The aim of the questionnaire is to find out the children and teachers outlook on the collective playing, its importance to learning motivation and learning results. 91 school-children and 31 teachers from Alytus music school, Kaunas music school and Prienų art school were examined. The... [to full text]

Being an immigrant in a Swedish school today might not be easy. It´s quite difficult to be accepted and becoming a part of an already functioning group. Difficulties with the Swedish language doesn´t make it easier. Besides that the requisites of the school curriculum program are very demanding and Swedish students are often in advantage already being a part of the system for many years. By following five immigrant boys in grade 6 during ten ensemble lessons, one concert and individual interviews with the boys as well as with their teacher, this study aims to investigate how ensemble playing can function as a social tool and promote interaction as well as integration. The results in this study show that ensemble playing in fact can function as a social tool. The boys developed abilities in playing an instrument as well as cooperating and analyzing by using the social tool of ensemble playing. The results even show that ensemble playing can promote interaction as well as integration. Above everything was the concert where the boys acted in front of their classmates and were treated with great respect and acceptance.

Thesis (Ed.D.)--Teachers College, Columbia University, 1996. / Issued also on microfilm. Includes tables. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 123-125).

The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

Syftet med studien är att ta reda på vilka motivationsfaktorer som elever i olika ensembler på kulturskolan erfar och om det skiljer sig något mellan fokusgrupperna. Bakgrundskapitlet belyser litteratur och tidigare forskning inom området motivation, instrumentalspel och gruppsykologi. Arbetets vetenskaps- och kunskapsteoretiska utgångspunkter är interpretativism och konstruktionism. Studiens teoretiska perspektiv är fenomenologi med inriktning mot livsvärldsperspektivet. Studiens forskningsmetod innefattar semistrukturerade interjuver med fyra olika fokusgrupper från fyra olika ensembler på kulturskolan. Materialet analyserades utifrån tematisk analysmetod. I analysen av resultatet har två övergripande teman, sociala- och musikaliska faktorer, framkommit. De sociala faktorerna berör elevers erfarande av att det är att umgås med vänner i ensemblen, träffa människor i olika åldrar, ha en god relation med sina lärare och att ha eget ansvar i ensemblen. Det framkom också att musicera tillsammans, att utvecklas på sitt instrument, lära sig av varandra och att medverka i konsertsamanhang var motiverande faktorer för att spela i ensemble. Ett antal icke motiverande faktorer framkom även bland annat tidsbrist, för svåra eller lätta låtar, olika åsikter i ensemblen och att vänner slutar i ensemblen. Skillnader gällande synen på medbestämmande, ensemblens funktion och medverkan på konserter har också framkommit. Avslutningsvis diskuteras, i förhållande till tidigare presenterad litteratur och forskning inom området, betydelsen av det sociala umgänget, musikaliska upplevelsen, medbestämmandet och tidsbristen. / The purpose of this study is to find out what motivational factors pupils in different ensembles at the cultural school experience and if there is any difference between the focus groups. The background chapter illustrates literature and previous research in the area of ​​motivation, instrumental playing and group psychology. The work's scientific and knowledge theoretical principles are interpretativism and constructionism. The theoretical perspective of the study is phenomenology with a focus on the life-world perspective. The study's research method includes semi-structured interviews with four different focus groups from four different ensembles at the culture school. The material was analyzed based on the thematic analysis method. In the analysis of the result, two overarching themes, social and musical factors, have emerged. The social factors affect students' experience of being with friends in the ensemble, meeting people of different ages, having a good relationship with their teachers and having their own responsibility in the ensemble. It also emerged that playing music together, developing on their instrument, learning from each other and participating in concert contexts were motivating factors for playing in an ensemble. A number of non-motivational factors also emerged including lack of time, too difficult or easy tunes, different opinions in the ensemble and that friends quit the ensemble. Differences regarding the view of co-deciding the function of the ensemble and participation in concerts have also emerged. Finally, the results are discussed in relation to previously presented literature and research in the field. The significance of social interaction, musical experience, co-determination and lack of time was discussed in the concluding chapter.

Arbetets syfte är att identifiera och förstå de utmaningar som ledare för blåsorkestrar på musik- eller kulturskolor upplever, samt hur de går tillväga för att hantera eventuella problem och nå framgång i sin verksamhet. Tidigare forskning visar att dirigenten som person och ledare har stor betydelse för orkesterns utveckling, men att den sociala miljön som bildas i orkestern också påverkar hur orkestern utvecklas och hur orkestermedlemmarna trivs i orkestermiljön. Det betyder att blåsorkestern kan blir en viktig plats dit eleverna går för att träffa sina vänner och ha det trevligt. Studien bygger på kvalitativa semistrukturerade intervjuer med fem musiklärare som arbetar med blåsorkesterverksamhet. Resultatet överensstämmer i stora delar med tidigare forskning som visar att det dirigenten gör före, under och efter repetitionerna spelar roll för orkesterns och orkesterelevernas utveckling. Dessutom visar resultatet i denna studie att den sociala aspekten av att spela i blåsorkester är viktigare än vad som skulle kunna förväntas. I diskussionen lyfts den sociala aspekten fram tillsammans med andra viktiga motivationsfaktorer för elever. / The purpose of the work is to identify and understand the challenges that leaders of wind orchestras at music schools experience, and how they cope with the problems and achieve success in their organization. Previous research shows that the conductor is of great importance for the development of the orchestra, but the social environment is also essential, so that the wind orchestra becomes a place where you pupils can socialize and have a good time. The study is based on qualitative semi-structured interviews of five selected music teachers who works with wind orchestra activities. The result shows much of what the previous research also does, that what the conductor does before, during and after rehearsals affects the progression of the orchestra. In addition, the results show that the social aspect of playing in the wind orchestra is more important than could be expected. In the discussion, the social aspect is highlighted together with other important motivational factors for pupils.

The purpose of this study was to investigate preservice music educators' perceptions of collegiate large ensemble experiences. The researcher created and tested a survey designed to explore how preservice music educators perceived their large ensemble experiences may impact their pedagogy skills and musicianship skills. Local (n = 101) and national (n = 77) respondents answered agreement statements about ensemble experiences, course enrollment questions, and a ranking question. An exploratory factor analysis on data from the instrument yielded four factors: Conducting Gesture Growth, Musical Skills and Pedagogy Skills, Repertoire and Literature Selection, and Other with a Cronbach's alpha of .92. Composite score results indicated that there was a statistically significant difference for one factor by primary teaching identity. Preservice music educators observed the most musical skills growth for their conducting gesture. Participants gave the highest pedagogy skills ratings for statements about large ensembles preparing them for a career in music education, improving their teaching effectiveness, and ensemble experiences altering their perceptions of music teaching.

Detta självständiga arbete fokuserar på att utforska hur gymnasieelever som läser ett nationellt program med musik som tillval uppfattar ensemblespel. Syftet med arbetet är att bidra med kunskap om hur dessa elever ser på och upplever ensemblespel. För att besvara frågeställningarna användes en kvalitativ metod med fokusgruppsintervjuer för att samla in data från ett homogent urval av elever. Resultatet som besvarar frågeställningarna visar att eleverna beskriver ensemblespel som en möjlighet att utveckla färdigheter i social interaktion, samarbete och ledarskap. Eftersom musik inte är elevernas huvudämne har de sällan samma tid för övning och musikalisk ambition som elever med musik som huvudämne har, vilket gör att en stark gruppdynamik värdesätts högre än speltekniska färdigheter. Det förekommer även gruppdynamiska svårigheter, och resultatet visar på att processen för att ta ett demokratiskt beslut ibland är en orsak till stress inom gruppen. Trots dessa svårigheter är elevernas inställning till ensemblespel positiv och ensemble ses som ett roligt och engagerande komplement till den annars teoretiska skolveckan. Resultatet av detta arbete ger en större inblick i elevernas syn på ensembleundervisning, vilket kan hjälpa musikpedagoger som vill förbättra kvaliteten och tillgängligheten för musikutbildning i gymnasieskolor. / This study focuses on exploring how high school students who are studying a national program with music as an optional subject perceive ensemble classes. The aim of this research is to contribute with knowledge about how these students view and experience ensemble classes. The study employed a qualitative approach, using focus group interviews to collect data from a homogenous sample of students. Findings show that ensemble classes provide the students with opportunities for developing skills in social interaction and teamwork as well as leadership. Since music isn’t their primary subject, they rarely have the same musical competence or time for practice as students with music as primary subject do, which is why a strong group dynamic is highly valued. However, the students also expressed difficulties about said group dynamic, finding the process of a democratic decision to sometimes be a cause of distress within the group. Despite these difficulties the students view ensemble classes in a positive light, seeing them as a fun and engaging complement to the otherwise theoretical school week. The findings of this study focus of the students’ perception of ensemble, which can benefit music educators who seek to improve the quality and accessibility of music education in high schools.

The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance. / Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing. Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en aanwysings vir effektiewe uitvoering daarvan word verskaf. / Art History, Visual Arts & Music / M.A. (Musicology)