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From the beginning of this undertaking, its aims were related to certain weaknesses which many college students had displayed as they undertook to learn to play the piano. Starting from the assumption that most, if not all students would encounter such in the mastery of the piano, the study proceeded to identify several psychological concepts deemed necessary to an intelligent grasp of the problems confronting students of the piano. These concepts were set forth as: Listening, Touch, Relaxation, Power and Strength, Rhythm and Time, Principles of Learning and Practicing, Individuality of Technique, and Pleasure From Music. From years of observation, it had seemed that most students of piano had never been taught to study that instrument by thinking through problems related to it before attempting to practice; that most of them appeared to try learning to play almost entirely by physical effort and by countless repetitions of whatever passages they might desire to learn. In consequence, this study was directed towards evolving a way of attacking certain problems in piano playing which would put emphasis on thinking out the things to be accomplished;. on wisely selecting the means and manner of achieving these ends; and on making constructive evaluations of the final results. Pertinent to the over-all picture of present-day piano playing were the background of the instrument and the various schools of playing from which modern piano technique had originated and developed. The piano and its mechanism were found to be comparatively new in music, since the piano had been invented fewer than 150 years ago. Although the piano was a keyboard instrument, it had been determined, shortly after its.invention, that a different and suitable technique would have to be developed in order to play this instrument adequately, if its fullest possibilities were to be realized. Consideration was then given to various schools of piano playing, which had sprung up to meet the demands made by each advancing composer: from Haydn and Mozart, through Beethoven, Chopin, Liszt, Brahms, and on into the realms of the modern composers like Debussy, Rachmaninoff, and Prokofieff. These various schools had culminated in the efforts of Matthay in London, Breithaupt in Berlin, and Philipp in Paris, all of whom had succeeded Leschetizky in Vienna. The approach, or method which evolved from a study of learners' and performers' difficulties, on the one hand, and of the writings of musical authorities, on the other, was concerned mainly with conceiving mentally the problems to be worked out within the scope of piano technique. That approach was analyzed and found to include eight aspects, each of which was discussed and evaluated in the light of the writings of various authorities in this field. They were further tested by observing the effects of applying them in actual teaching situations, the outcomes of which were, in turn, reported in the form of case studies. The case studies, presented in this writing, were considered to embrace several different types of individuals. That differences existed was shown by variations in the results of using the approach of intelligent foresight in the several cases. However, the testing process did seem to produce in each instance greater understanding of the piano as an instrument and, within the range of each student's capability, some definite progress toward more intelligent performance. Just as everyone who attempts to write a poem does not aspire to the crown of poet laureate, so everyone who studies the piano does not hope to become a famous professional pianist. Thus, the students who became the subjects of observation and testing derived satisfaction from the knowledge that they had made marked progress; that they had done so without strain and in a manner that revealed possibilities for further growth and achievement. The teacher, in turn, was rewarded by the realization that every student who had given serious consideration to the approach described in this study showed evidence of having increased his pleasure in playing as well as of having gained considerable skill as a performer. Some had progressed more rapidly, some more slowly; but it was felt that, without exception, all has attained a greater appreciation of music and of the piano. Thus, as the study was concluded, it seemed that whatever merit it might have lay in its possibility of provoking a more intelligent approach to the study of the piano; of guiding students of that instrument to skill in playing it in somewhat the same manner as other skills are learned, i.e., by careful and thoughtful analysis of the problems to be overcome. In undertaking any task greater interest seems to be aroused through simple explanations of its nature, of how it may be performed, and of what results may flow from its successful execution. Merely to tell a student to do something because this is the right way, without due analysis and explanation, can hardly hope to kindle inspiration and zeal enough to conquer its difficulties. Fundamentally, it is hoped that this study has lent support to the view that the piano does not necessarily belong exclusively to those with marked talent; that the joy of reproducing music may be made accessible to anyone with average mental and physical endowments. / M.S.

The purpose of this study is to determine some probable effects of certain procedures in overcoming negative attitudes toward school music and to show the possibilities of locating and eliminating some of the factors associated with children's difficulties in music.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these. / AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.

Thesis (MMus (Music))--University of Stellenbosch, 2006. / The piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.

This study explored factors relating to participation in public school orchestra programs and the relationship and predictability of such factors in accordance with Maehr's theory of personal investment.

This study is to determine some means of directing and supervising practice periods of band students; and to examine the available class study materials with a view of determining their use and suitability as an aid to supervised practice.

The purpose of the present study is three-fold in its nature: (1). To determine, by means of interviews and questionnaires, the attitudes of school administrators toward the various aspects of the instrumental music program; (2). To interpret these attitudes in the light of modern music education; (3). To make recommendations for the improvement of the instrumental music program with respect to the findings of the study.

This qualitative, multi-case study examined trans and non-binary singers in the applied voice studio. The purpose of this study was to explore (1) the impact of music participation on the identities of trans and non-binary singers, (2) the experiences of trans and non-binary singers taking private singing lessons, and (3) the strategies and practices of their voice teachers. Purposeful sampling of four singers included two trans men and two non-binary individuals. Four teachers with prior experience in teaching trans or non-binary singers included two teachers identifying as trans men, and two cisgender (one female, one male) teachers. Data were collected through interviews and lesson observations, presented through portraiture analysis to provide an insider’s view of the experiences, perspectives, and practices of the participants. Findings and implications emerged through cross-case analyses. The results indicate that gender impacts musical spaces. While participation in musical activities created an outlet for some singers to explore their trans or non-binary identity, the reification of the gender binary in musical spaces was oppressive for others. Students modeled high self-efficacy by showing perceived competence to change discriminatory policies and practices in music and the performing arts. Teachers demonstrated emotional support in the applied studio by being cognizant of student needs. While the training of each student looked distinct, teachers affirmed students through student-centered pedagogical approaches, allowing students to guide their vocal training and development. Teachers discussed the need for adept understanding of vocal technique in training trans and non-binary singers. All four trans men (two students and two teachers) discussed their voice modification through testosterone replacement therapy. The two non-binary singers, not engaged in medical voice modulation, discussed changes in their voices through singing lessons. The research posits that curricular development in vocal pedagogy courses is needed to educate singing teachers on cultural competency and trans and non-binary vocality. This study revealed the need to examine applied teacher readiness in educating trans and non-binary singing. Research on the longitudinal effects of testosterone on the voice is warranted. Additional scholarship is needed in working with trans or non-binary voices not engaging in hormone replacement therapy.

Abstract not available