Popular music education in the UK, and worldwide, has seen a significant expansion in the last two decades. As this new subject matures, scholars are beginning to fashion a new and more student-centred approach to learning and teaching: drawing on the informal learning practice found in popular music. Green (2006) defined the key characteristics of informal learning: allowing learners to choose the music; learning by listening and copying recordings; learning in friendship groups, with minimum adult guidance; learning in personal, often-haphazard ways; and integrating listening, playing, singing, improvising and composing. Informal musical learning is also facilitated through the use of recording as a technique for reflecting on, and improving one's own performance. These novel approaches to music education have begun to be applied by music educators, in a diverse range of contexts. Karlsen (2010) has correspondingly linked informal learning with ideas of authenticity, and communities of practice: social networks that provide individuals with access to learning through interaction with experienced ‘old-timers' as described by Lave and Wenger (1991). This thesis examines the way that seven musicians, teaching in one private UK Higher Education popular music institution, learnt their craft: firstly as musicians and subsequently as teachers. It asks how the way that these individuals acquired their skills and beliefs might impact on the way that they teach their students, and if this impact might be more effective if teachers were encouraged to reflect on their own learning, using that reflection to research, inform, and modify their own teaching practice. This work is particularly situated in small and medium size group teaching rather than the one to one teaching model found in classical music programmes, or in peripatetic music teaching. Furthermore, my work takes a structural-constructivist approach using the ideas of Bourdieu (1977, 1990a, 1993) as a theoretical lens, and drawing on the constructivist learning theory developed from the principles established by Vygotsky in the 1920's and 1930's (1930/1978).1 I argue that a hybrid approach to Bourdieu's notion of habitus (1990a, p.53) or the dispositions we adopt to the social world is crucial to understanding the way that we become musicians. Moreover, that the situatedness of musical and educational practice and the identity practices of learners and teachers are fundamental to the process of learning as a process of becoming (Lave and Wenger, 1991). Ergo, by recognising this process of learning as situated in social, cultural, historical, and technological contexts we may also facilitate metacognition (Flavell, 1979). By metacognition, I mean the ability to be reflexive2 as a learner or teacher; understanding the way that learning works, our beliefs about learning, and how those beliefs affect one's own learning and thus agency. Additionally, that notions of authenticity and creativity are vital to the effectiveness of musical learning practices, and the accumulation of social and cultural capital for popular musicians. My research methods include the use of open ‘semi structured' interviews (Leech, 2002) alongside observation in the classroom3 to generate empirical data. The primary research presented here is an Action Research Study: enabling the teachers in the study to retrieve their own experience of informal learning in order to facilitate informal learning practice in the music classroom. I suggest that these individuals recognise the importance of their own experience and are able to utilise, and learn from those experiences in developing approaches that are relevant, creative, and also authentic to their students. What this work also aims to do is establish links between theory and practice, and to identify potential mechanisms for engaging with our students' entire learning experience, whilst allowing them to understand the social and cultural process of musical learning. 1 This text is a collection of Vygotsky's work originally published in the 1920's and 1930's. 2 Reflexivity is a word used in sociology to describe how much agents are able to recognise the forces of social structure and therefore affect agency. 3 By classroom teaching, I mean small group (10-20 students) and exceptionally, larger group (40-60) teaching, as is the model for delivery at my institution.

The purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation accuracy between string, oboe, and piano accompaniments? (4) Are there differences between the number of flat, sharp, and in-tune responses of participants? (5) Are there differences in string musician preferences between accompaniment types? (6) Are string musicians’ self-perceptions of tuning accuracy associated with performed pitch accuracy? (7) Are there differences between age and experience of participants in intonation accuracy with various accompaniment types? Performances of Frère Jacques were recorded by a cellist, oboist, pianist, and a violinist to serve as accompaniment stimuli for the study. Additionally, a questionnaire was created to measure preferences for accompaniment, perceptions of tuning accuracy, and collect background information of participants. The participants (N = 103) were high school (n = 60) and collegiate (n = 43) violinists (n = 55), violists (n = 22), and cellists (n = 26). Participants performed an excerpt of Frère Jacques in Eb major in five conditions: with a cello accompaniment, oboe accompaniment, piano accompaniment, violin accompaniment, and as a solo. Absolute cent deviation from the tonic, mediant, subdominant, and dominant scale degrees were collected from each participant for analysis. A significant main effect of intonation was found for accompaniment conditions. Participants performed more in tune with the cello, oboe, and violin accompaniments than with the solo. Additionally, they performed more in tune with the oboe accompaniment than with the piano accompaniment. The octave of accompaniment and instrument performed also did not appear to affect intonation. A significant main effect was found between high school and college participants. High school participants performed with less pitch acuity than college participants. An additional significant main effect was found between the deviations of analyzed notes. The Ab (subdominant) had significantly higher mean cent deviation than the Eb (tonic) and Bb (dominant). No differences were found between instruments performed and no interactions between variables were found. Participants demonstrated a propensity to perform with sharp intonation. Sharp responses occurred more frequently than in-tune (defined as ±6 cents) and flat responses with high school participants. Additionally, performances with the oboe accompaniment produced more in-tune responses than other conditions. In-tune responses occurred more frequently with collegiate participants; however, sharp responses occurred more frequently than flat responses. Performances with the oboe accompaniment also produced the most frequent flat responses as well as the lowest number of sharp responses. Questionnaire responses indicated that participants preferred to perform with the string accompaniments more than the non-string accompaniments. Participants least preferred to perform with the oboe accompaniment compared to the other accompaniments. A significant main effect was found in participants’ rating of their perceived intonation accuracy between conditions. Although participants rated their intonation as highest with the cello, their performances did not reflect this perception. A significant main effect was also found between the levels of participants. High school participants rated their intonation lower than college participants. No significant main effect was found between instrumental groups and no significant interactions were found. A moderate positive correlation was found between participants’ perception of their intonation and their actual performance of intonation with the violin accompaniment. Additionally, a weak positive correlation was found for the cello accompaniment and the solo condition. Participants’ rating of their perceived intonation correlated positively to the actual pitch accuracy for the string accompaniments and solo condition while no associations were found for non-string accompaniments. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2019. / April 19, 2019. / accompaniment, intonation, string instruments, timbre / Includes bibliographical references. / John M. Geringer, Professor Directing Dissertation; Bruce Holzman, University Representative; Katarzyna Bugaj, Committee Member; Clifford K. Madsen, Committee Member; Michael M. Thrasher, Committee Member.

In different countries, the music curricula for primary/ elementary school children has been influenced by many diverse factors including a number of progressive educational practices and a variety of psychological theories. This research gives a detailed analysis of a number of primary/ elementary school programs for general music in Australia (New South Wales, i.e. NSW), in the UK (England), in the Russian Federation and in the United States of America. The research aims to find out to what extent music education in different countries is based on or follows psychological theories of child development and progressive educational practices. Firstly, to acquire an adequate understanding of child education this research examines the philosophical roots of primary/ elementary education and a set of psychological ideas of Piaget and Vigotsky about the nature of children and the nature of knowledge. This provides insight of how children learn (the nature of learning) and the role of the teacher in learning music. Secondly, the research examines the musical content of the syllabae (the nature of subject). It critically compares the following components of curricula and syllabae: philosophy, objectives and contents including musical concepts, activities and music repertoire. This is then subjected to further analysis examining these contents in relation to theories of child development (Piaget and Vigotsky) and traditional and progressive educational practices (where it is applicable). Finally, a questionnaire is aimed at primary school teachers in NSW. These teachers are generalist teachers, there are no specialist music teachers employed as such in public primary schools in NSW. Music is taught in the NSW primary schools by class teachers. The problem is that NSW university faculties of education do not train music teachers as specialists at primary level. They only train generalist teachers. In other countries the situation is different. There are music specialists in the USA, UK and Russia teaching in primary schools. There are also such teachers in primary schools in Queensland, SA, Victoria, and WA and there are some in NSW. The questionnaire was, therefore, designed to enquire into the specific situation in NSW. Finally, issues of further investigation and research of curricula and syllabae in the primary/ elementary school are outlined.

The purpose of this study was to create an instructional program for high school vocal music students which would be consistent with recent theoretical writings in the areas of aesthetic perception and response.Recent literature was surveyed with the intention of deriving basic principles which could increase the ability to perceive the aesthetic qualities in an art work and which could improve the capacity to respond to Aesthetic perception is improved by focusing the attention directly on the art object, by displaying a certain amount of psychical distance, by participation in the interaction between percipient and art object as well as prior experience and expectations. Further, factors which enrich aesthetic perception are the coordination of intellectual and emotional processes, theorganization of stimuli into the most simple or most complete figures, and finally, the human ability to study the art object with the absence of judgment-making.Aesthetic response may be cultivated by recognizing the patterns of tension and resolution inherent in musical works, by using the necessary contemplation time to react to an art work and by awareness of the fact that there is no standard response to an art work on behalf of the human being. However, man's capacity to respond to music is universal. Developing this capacity for aesthetic responsiveness enables man to reach his deepest human potential.A teaching program was created which incorporated the objectives of increased ability to perceive and improved capacity to respond to musical art works. The method was derived from several aesthetic theories and subscribed to no one particular theory. The sequence of instruction was ordered so that the music would be experienced, then studied, then experienced again in an escalating developmental pattern. Students in such a program would be asked to play a vital role in the interaction relationship between art work and performer percipient. The student performer then becomes a creator who through derived sensitivity and understanding brings the music to life.Sample instructional modules were supplied to serve as suggestions for creating a rehearsal laboratory for music exploration. While retaining excellent musical skill standards in rehearsals, the modules attempt to contribute positively to the musical sensitivity and understandings of high school music performance students.In conclusion, it may be stated that the goals of any music education program should include the increased sensitivity to and the greater understanding of the inherent aesthetic qualities of the music studied. Objectives to these ends may be considered as the increased. ability to perceive the aesthetic qualities present in a musical composition and the improved capacity to respond to the qualities which are perceived.

Diss. Umeå : Umeå universitet, 2007. / Med litteraturhenvisninger.

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Many texts and pedagogical works address the production of the saxophone’s altissimo register. The focus of these resources, however, is predominantly directed towards initial altissimo production for intermediate players, as well as fingering choices, scales, and brief exercises for advanced performers. There is a current dearth of longer studies and etudes designed to bridge the gap between short exercises and the demands of solo repertoire. In an attempt to remedy the relative lack of advanced instructional material, I have composed a collection of 14 etudes based on altissimo passages from the alto saxophone solo repertoire. The purpose of this project is twofold: to give players an opportunity to increase their technical proficiency in the altissimo register, and to demystify prominent solo passages by employing them in various forms. Chapter One illustrates the near absence of altissimo etude collections by surveying existing altissimo resources including books, magazine and journal articles, dissertations, and video and audio instructional materials. The chapter concludes with my views regarding successful altissimo production. Chapter Two discusses my original etudes, which draw upon numerous compositional methods (applied separately and in combination) of transforming and integrating musical material from the original solo excerpts. The 14 etudes are provided in their entirety in the Appendix. In general, they have a technical focus and are appropriate for performance during private lessons or master classes. Each one is relatively compact at one or two pages in length, with performance durations ranging from one to four minutes. / text

The interaction between musicians has been one of the traditional strengths of music: it stretches to include an audience and ritual participants but has its origins in group activity, the interpersonal responses of one musician to another. This thesis examines the way that electronic media have transformed the interactions between musicians, particularly in the context of live performance. A central theme is the way in which mediatisation creates new splits within previously integrated musical situations and also merges differences usually defined by physical boundaries. The theories of Gregory Bateson on schizophrenia and Irving Goffman on Situationism are brought together to create a new understanding of the term "schizophonia". This rehabilitated concept is proposed as the key to a creative exploration of new situations and discontinuities which make up group performance in a mediatised environment. In practical terms the exploration of new musical situations is documented in the following projects: the material created for the group "Automatic Writing Circle" during its evolution over a period of six years (compositions, software, instruments), development of the Ouija Board and accompanying software, composition of the piece Lipsync and the earlier piece I slept by numbers for flute and live electronics.

This dissertation addresses two topics. The first is a preliminary investigation into the listening strategies for electroacoustic music by François Delalande. A listening experiment was undertaken to test Delalande’s strategies and to learn from listeners’ responses in order to apply them to compositional practice. This process prompted the conception of a new, integrated reception behaviour framework for electroacoustic music that comprises four listening strategies: sonic properties, structural attributes, self-orientation, and imaginary realms. The second topic is the poietico-esthesic analysis of the folio of acousmatic compositions from the perspective of the reception behaviours framework. The intention of the reception behaviours framework is to illuminate those sounds and structures in electroacoustic music that could be perceived as carriers of meaning. The analysis of the acousmatic compositions in the portfolio, from the perspective of the reception behaviours framework, aims to illustrate how the acousmatic composer can attempt to create meaning in an acousmatic work. While space is observed as the common denominator in the reception behaviours framework from an esthesic perspective, space and time are proposed as common denominators that carry all poietic intention. Hence, space and time can be seen as universal carriers through which meaning can subsequently be conveyed and perceived.

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