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Taking as its central premise the contention that there are different ways of validly conceiving music's nature and value, this thesis aims to demonstrate the need for eclecticism in the formulation of a philosophy of music education. Comprising the main body of this study is an in depth consideration of four different aesthetic points: (i) music as autonomous aesthetic object; (ii) music as social commentary;(iii) music as social mediator; and (iv) music as llink to ultimate reality. The concluding chapter draws sane conclusions - as to what a 'polyaesthetic approach' implies in terms of music education's objectives, content and methods. / Thesis (M.Mus)-University of Natal, Durban, 1987.

There is no abstract available for this thesis.

This dissertation has taken the form of a creative project, as is permitted by the guidelines for the Doctor of Arts curriculum. The purpose of the project was to assemble and edit for the beginning organist a body of musical literature useful to that important, Initial step in learning which combines Manual and Pedal activity. The thirty-eight selections which comprise the collection are compositions which have never before been used in pedagogical compilations and are arranged: in an order of progressively ascending technical difficulty.Criteria other than appropriateness to the acquisition of needed rudimentary skills influenced the selection of musical works included in this collection. Important schools of organ composition, ranging from the thirteenth to the nineteenth century and stemming from England, France, Germany, Italy, Poland, and Spain, are to be found in this project: and. the most significant styles of composition, chant-based, chorale-based, fugal, free, homophonic, trio, and dance, are also adequately represented.Each composition has been notated on a standard, three-staff, organ score to which Manual indications, pedalling symbols, and limited fingering assists have been added, in addition, each musical work carries with it a title page bearing not only the composer's complete name and dates but also suggestions for appropriate registration and a brief paragraph of pertinently related stylistic, biographical„ or technical comments.Research which influenced the choice, transcription, and edition of each composition is recorded in this dissertation as is also a chapter of indexes locating the selections from the standpoints of technical difficulty, compositional period and region, and compositional style.Organ Music For the Beginner should serve adequately both as a supplemental. volume to any existing organ course and as a primary study guide for any beginning organ student.

The purpose of this study was to determine whether an Aebersold play-along recording is an effective tool for becoming a more proficient jazz improviser. Participants (N=35) were undergraduate and graduate trumpet, trombone, and saxophone students enrolled in the jazz program at a mid-sized university in the mid-western United States.The study followed a pretest/posttest design in which participants were randomly assigned to either an experimental or control group. Both groups were asked to record a pretest of improvisation over two choruses of F blues, along with a rhythm section playalong recording. Three expert judges evaluated these pretest performances using the Instrumental Jazz Improvisation Evaluation Measure (IJIEM). Participants self-reported a total of four hours of individual practice over the next thirteen days, the control group practicing F blues without the aid of accompaniment and the experimental group practicing with a play-along accompaniment compact disc provided by the researcher. Participants recorded two choruses of improvisation as a posttest on day fourteen, which were subsequently evaluated by the three expert judges, again using the IJIEM. The pretest and posttest results for all three judges were then averaged and compared for differences.The results reveal a significant difference with positive gain scores in both groups. While both groups showed higher mean gain scores, the experimental group experienced a fifty-six percent gain over the control group (not statistically significant). / School of Music