This study aimed to intervene in the challenges emanating from the launch of a new primary schools Arts syllabus which is geared towards reflecting Batswana cultural values in Botswana primary schools. The launch was hurried, before all necessary provisions were made (Phuthego, 2007). Consequently, there is dire need of relevant resource materials, teaching/learning activities and qualified teachers, who can effectively translate the syllabus objectives and aims. The aim of this study was hence to devise learning activities based on Tswana children’s songs as the selected materials to realize the objectives of the existing primary school music syllabus for Botswana primary schools lower standards. This has been done through analysis of Tswana children’s songs, studying their nature and inherent values, on the basis of which culturally relevant teaching and learning activities have been designed for use in Botswana primary school music curriculum. In order to validate the need for a consideration of culturally relevant teaching and learning activities in Botswana primary schools, the study explored the music of the Batswana prior to and during colonialism and how it manifests itself in the current curriculum delivery. The study has also considered the current education policy’s aspirations of instilling cultural values in learners, as well as grooming a rounded citizen who can adjust to the challenges of the 21st century corporate world. The study employed content analysis through which twenty-four children’s songs were studied for their inherent values and musical concepts. Eclectic learning activities which take cognizance of the holistic approach prevalent in Tswana music making milieu, combined with the Rhythm Interval Approach (Akuno, 2005) which advocates the use of temporal and tonal elements of sound as the basic ingredients from which other musical elements such as form, texture, timbre harmony and dynamics are derived were employed. The activities were then tested in standards 1 to 4 to address the music syllabus. The results showed that the songs completely address the objectives stipulated in the syllabus and moreover, provide some extra-musical concepts which are embedded within them. The results also revealed that the Rhythm Interval Approach is applicable in Botswana lower primary schools, hence implicitly suggesting its further possible applicability to upper primary classes because the syllabus has been designed in a spiral fashion, where the same musical concept like ‘sound’ appears at different levels of intensity across all classes. The study recommended that The Revised National Policy on Education’s aim of grooming a locally and internationally compatible learner can be enhanced through learners’ awareness and appreciation of their culture on the basis of which they can later on spread their wings, to other world cultures. Tswana children’s songs have been observed to have a potential to act as a bridge to ease the transition of cultural pedagogy of rote learning to current paradigm of symbolic representation and abstraction of concepts. The study devised twenty learning activities to facilitate the use of these songs for curriculum delivery in standard 1-4. / Thesis (M.Mus.)-University of KwaZulu Natal, Durban, 2009.

No abstract available. / Thesis (M.Mus.)-University of Natal, 1987.

This essay has two primary purposes: (1) to make a case for jazz education and (2) to suggest ways in which jazz education can more prominently and profitably feature in post-Apartheid South African education. Justifying jazz education and determining how it can best fit into South African education both require a clear conception of what jazz education is in its various forms. Thus, the essay begins by attempting a holistic definition of jazz education as education in, about, and through jazz followed by a systematic consideration of the many and varied educational outcomes jazz education is capable of achieving. Thereafter, an overview is presented of jazz education as it presently exists in South Africa. Employing criteria derived from the essay's discussions, South African jazz education is evaluated and suggestions are made for how it can be further developed. / Thesis (M.Mus.)-University of Natal, Durban, 2001.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1999.

There is no abstract available for this thesis.

The purpose of this study was to determine the status of band programs in the public secondary schools of New Jersey. Answers were sought to the following questions: (1) what was the background of directors; (2) how were the programs organized; (3) what were the nature and extent of performance and rehearsal practices; (4) what type of facilities, budgets, and equipment were available; (5) what did directors believe to be the strengths and weaknesses of band programs; and (6) what were the perceptions of selected superintendents concerning band programs? Information was obtained from band directors through a questionnaire which was sent to every public high school in New Jersey. Another questionnaire was sent to a random selection of superintendents. Data, as received from 60.2 percent of the directors and 72 percent of the superintendents were tabulated, categories were formulated, and tables were prepared to present the data in terms of numbers and/or percentages. 1. Generally, the band directors of New Jersey high schools are experienced and dedicated professionals who seek to improve their teaching skills and philosophies. 2. Students have the opportunity to participate in a wide variety of ensemble offerings. 3. Most ensembles have adequate rehearsal time, although some marching bands seemingly utilize excessive amounts of the student's time for rehearsal and performance. 4. Instrumental lessons are available in 83.9 percent of the schools. 5. Band programs in the high schools possess some of the basic organizational aspects that are believed to be necessary for musical learning to occur. 6. Most band organizations seemingly do not over-perform. 7. Directors and superintendents believe that the emphasis being placed on performance skill, aesthetic/ artistic understanding, and social/personal development is proper. 8. Band directors and superintendents believe there is a need to re-evaluate the functions of band performance for the future. 9. Facilities, equipment, and supplies are seemingly adequate in most schools. 10. Dedication of directors and variety of programs are strengths of New Jersey's band programs. 11. The weaknesses of New Jersey high school band programs appear to be an increased emphasis placed on marching band, competition, and exploitation of band organizations by internal and external forces. This limits musical understanding.

The purpose of this study was to determine the self-reported level of integration of instructional tasks related to the creating and responding standards in the wind band curriculum and factors negatively or positively related to their integration. The researcher collected data via an online questionnaire pertaining to the integration of Standards and possible correlated factors suggested by the relevant literature. The factors examined in this study included personal demographics, school demographics, state attributes, valuing, competing populations, and three channels of influence (curriculum, teacher development, and assessment and accountability) suggested by the National Research Council in their publication Investigating the Influence of Standards (2002).Results indicated that Standards 6 and 7 are integrated at the highest level and Standards 3 and 4 at the lowest level while Standards 8 and 9 occupy a middle tier. The researcher utilized a phi co relational test for all factors in association to high and low integration of each of the six Standards under review. Chapter 4 reported 138 significant relationships from the following categories of responses.Personal Demographics 1School Demographics7Valuing31Competing Populations16Framework (83 18CurriculumTeacher Development25Assessment/Accountability40Total: 138 / School of Music

Music education is an important element in the development of the whole child. The school is a place where children learn about and are directly influenced by things that make a lasting impression on their development. What better place for music to be taught? Music is a course of study that can have a direct influence on a child's lifetime tastes and values for the arts. / This study investigates the effects of an Alternative Instrumental Music Program on grade three children, at an elementary school situated on the West Island of Montreal, Quebec. One of the two classes involved in the Study (Experimental Group) participated in an alternative instrumental music program and its applications; the other class (Control Group) followed a traditional music program. Each class consisted of twenty-eight students. Quantitative and qualitative data were collected from both groups of students, homeroom teachers, and parents over a period of ten consecutive weeks. / The findings revealed that the children in the Experimental Group enjoyed learning music in school more than those in the Control Group. The Experimental Group also indicated a greater increase in the enjoyment of activities experienced during music class than those in the Control Group. Moreover, there was a higher increase of musical knowledge in the Experimental Group. / The author suggests that further research on the effects of alternative music programs on elementary school children would be beneficial to the educational community.

No description available.

From introduction: The decision to use the term "Wind Band" in connection with this work was made after much careful deliberation. The English word "Band" is derived from the French "bande" meaning a group of players. It was first applied in this context in England when the Twenty-four Violins at the Court of Charles II (in emulation of "Le Vingt-quatre Violons du Roi at the Court of Louis XIV of France) were known in England as "The King's Band "Band" is a title generally given at the present time to any of instrumentalists, and indeed, many of the World's most famous conductors have been known to refer to any large symphony orchestra as "The Band" and the dressing-room of every Symphony or Concert orchestra in the British Isles is invariably called "The Band-Room"