Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and coded in order to identify major themes and trends. Conclusions were verified through member checks, several types of triangulation and other qualitative analysis techniques. Trustworthiness was determined through an audit. Cognitively and physically, students had to accommodate musical techniques as these differed from those used in concert band. Some students were confused by the new seating arrangement and the playing of individualized parts. While some students could perform distinctly different swing and straight interpretations of the same song without external cues, others could only perform this task with external cues. Some changes in articulation were well within the students' capabilities while other techniques were more difficult to accommodate. Several students felt 'uptight' while they improvised alone in front of their peers, noting group improvisation and rhythmic embellishment of familiar tunes as being helpful in assuaging these feelings. Students recognized the environmental differences between concert band and jazz band, and reported more freedom of expression in jazz band. Particularly enjoying this freedom, the more willing improvisors banded together as a clique. The students' learning was viewed as being situated in the context of jazz band. 'Musical perturbation' and cognitive apprenticeship described students' physical and cognitive accommodation of the new context. The instructional strategies students found to be most helpful were student-centered and derived from cognitive behavior modification and scaffolding theory.

published_or_final_version / Education / Master / Master of Education

Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to be performed effectively in a series of concerts.

The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.

The purpose of this study was to examine the effects of two methods of music instruction on two factors in the musical listening experience, identified as music description and music identification, and musical preference of fourth- and fifth-grade students. The listening experiences consisted of one which utilized descriptive writing in the music lesson and one which utilized participatory listening activities such as maps for guided listening, worksheets, and call charts. Also examined were the interactions of gender, grade level, and degree of writing presence in the regular classroom. Seven-hundred and eleven students from thirty-six intact classes in six elementary schools of three school districts were chosen for the study. The intact classes were randomly assigned to one of the two methods of instruction for a seven week experiment. The study utilized a pretest/posttest two group experimental design to answer 10 research questions. Repeated measures MANOVAS, t-test of independent samples, and two-variable correlation tests were conducted to measure mean differences, interactions, and possible relationships in the data. Results of the study indicated significant differences between method of instruction and the variables of music description and music identification. Method of instruction did not influence musical preference. Also significantly different were students' scores for music description, music identification, and musical preference between the participating 23 classroom teachers. Method of instruction, grade level, degree of writing presence, and gender did not significantly interact collectively with music description, identification, or musical preference although some areas interacted with these variables individually. Significant interactions were found between music teacher and method with regard to students' scores on tests of music description, music identification, and musical preference. Two correlational tests resulted in values that indicated no relationship between the variables of musical preference and description and musical preference and identification. However, the non-relationship of music description and musical preference was non-significant while music identification and musical preference were significantly non-related.

Many aspects of Ignaz Jan Paderewski’s life and career have been the subject of previous research, but some important areas remain uninvestigated. Moreover, many biographies, especially those written in English, have hitherto rarely adopted a critical stance. My aim here is to examine those elements of Paderewski’s performance style that have not hitherto been fully studied. Unique Polish sources include unpublished letters written to his father and Helena Górska, his secretaries’ letters written in 1935 and between 1938-39, and of course his correspondence with his pupils, which sheds considerable new light on his views on, and success in, piano teaching. This dissertation discusses in detail his stylistic approach, attitude towards piano playing, preparation for performance and methods of interpretation. Unpublished letters between Paderewski and his pupils deal with such issues as: choosing concert programmes, techniques of pedalling and advanced interpretational issues. To further evaluate changes in Paderewski’s playing style over his career I have analysed a representative selection of his recordings made over the course of his career. Although Paderewski’s style did not change radically, some of the recorded pieces do demonstrate significant differences in interpretation, and his experiments in phrasing, dynamics, tempo and pedaling. I additionally compare some of the recordings of the same pieces by Paderewski and his contemporaries. For instance, Arthur Friedheim’s recording of Liszt’s Hungarian Rhapsody No. 2 in C sharp minor. An approach such as this will illuminate, for example, some differences in style between representatives of the ‘Liszt School’ (of which Friedheim was one of the most celebrated exponents) and that of Leschetizky (as represented by Paderewski). This documentation and evaluation of Paderewski’s performance style has naturally influenced my own performances of his works. The accompanying recital therefore includes one of Paderewski’s most substantial piano pieces, the Sonata in E flat minor, contrasted by a Sonata by Paderewski’s contemporary, Sergei Rachmaninov, and completed by works of Chopin in Paderewski’s repertoire, and a piece by his pupil, Ernest Schelling, also recorded by Paderewski. The recital therefore constitutes a practical application of Paderewski’s performance and programming styles as discussed in the dissertation.

This thesis examines the present practice of Odissi, the classical dance form of Orissa in Eastern India, with the view to identifying its strengths as a performing art and building on them. The objectives were to share this dance tradition both on stage and in the studio, not just as a stylised Indian movement form of limited interest, but as an integrating dance experience of relevance to today's multicultural world. The primary concern has been determining parallels with yoga and ritual and addressing the question of transcendence through dance, as understood in the Indian tradition. A choreological perspective has been adopted for this study and Odissi viewed from the position of the student, performer, choreographer, teacher and audience member, all roles which this researcher has performed personally. The basic parameters of Odissi's movement and dance techniques have been analysed informed by this discipline. Odissi has been reviewed historically, both when it was a medieval temple ritual and more recently when it was reconstructed as a classical Indian art after the country's Independence. The hypothesis that the practice of this dance was unconsciously governed by a bedrock of tantric thought forming its covert structures has been explored. Choreographic works have been created in collaboration with traditional musicians using established forms of composition to explain working methods within the tradition and experience its limitations. An alternate way of embodying Odissi based on tantric practices has been outlined. Works that explore this and that stretch the traditional sound-movement nexus of this dance form in the process, have also been created. The results of this research project hence fall broadly into the following inter-related areas: an understanding of Odissi dance and movement in relation to its culture and society; a hypothesis about the phenomenological nature of the medieval Orissan temple dance ritual; an outline of an alternate way of practicing Odissi based on tantric principles; and a choreological documentation of compositions created that make the practice of dance a form of yoga as defined by the Indian tradition.

Thesis (M.Mus) -- University of Stellenbosch, 2000. / Some digitised pages may appear illegible due to the condition of the original hard copy. (entire content of poor quality) / ENGLISH ABSTRACT: The foundation for this study is the belief that music is an essential part of human existence and thus of education. It not only addresses individual and communal human needs but the multicultural nature thereof gives it special significance for education in the ''New South-Africa". This significance lies in the value of music in its own right (intra disciplinary) as well as the use of music for its intrinsic qualities to facilitate the teaching of all other fields of knowledge (interdisciplinary). Recent research and new thinking in the fields of intelligence and learning support this belief. The old one-dimensional approach to intelligence is no longer tenable and has been supplanted by the acknowledgement that human intelligence is multi-faceted. Musical ability is now recognized as a separate intelligence while the use of music is regarded as being an important factor in the development and functioning of the human thought process. Research on the role played by emotions and morality as well as that on the characteristics of genius, optimal experiences and the implications of the functioning of the brain, are all explored with reference to what this means for music education (and using music in education) in this country today. The new Curriculum 2005 at present being introduced into South-Africa is an example of Outcomes-based Education. The way in which the Arts and Culture Learning Area of Curriculum 2005 approaches music education corresponds with the interdisciplinary and intra disciplinary distinction. These aspects are discussed and material is included for use in order to realise the expressed and desired outcomes for music education in the Foundation Phase. Elliott's alternative approach (music-as-practicum), instead of Reimer's traditional music curriculum making, is used as point of departure. / AFRIKAANSE OPSOMMING: Die oortuiging dat musiek 'n essensiële deel van die menslike bestaan en dus van opvoeding is, lê ten grondslag van hierdie studie. Nie alleen spreek dit individuele sowel as gemeenskaplike menslike behoeftes aan nie, maar die multikulturele aard daarvan maak dit van groot belang vir opvoeding in die "Nuwe Suid-Afrika". Die belang is daarin geleë dat opvoeding in musiek op sigself waarde het (intradissiplinêr), maar ook leer in alle ander vakgebiede kan fasiliteer (interdissiplinêr). Onlangse navorsing ten opsigte van intelligensie en opvoeding staaf hierdie siening. Die vroeëre een-dimensionele siening van menslike intelligensie is nie meer houdbaar nie en is vervang deur die erkenning dat intelligensie vele fasette het. Musikale vermoëns word tans as 'n outonome intelligensie beskou, terwyl die groot invloed van musiek op die ontwikkeling en funksionering van die menslike denkpatrone erken word. Navorsing oor die rol van die emosies, moraliteit, die kenmerke van die genie, optimale ondervindinge en die funksionering van die brein, word ondersoek met verwysing veral na die belang daarvan vir musiekopvoeding (en die gebruik van musiek in opvoeding) tans in Suid-Afrika. Die nuwe Kurrikulum 2005 wat tans in Suid-Afrika ingevoer word, is 'n voorbeeld van Uitkomsgebaseerde Onderwys. Die benadering van die Kuns en Kultuur Leerarea in die Kurrikulum 2005 tot musiekopvoeding stem ooreen met die inter- en intradissiplinêre verdeling. Hierdie aspekte word bespreek en materiaal word ingesluit vir gebruik by die nastreef van die uitdruklike en wenslike uitkomstes vir musiekopvoeding in die Grondslagfase. Elliott se alternatiewe benadering tot kurrikulering vir musiek (musiek-as-practicum), in teenstelling met Reimer se tradisionele MEAE model, word as uitgangspunt gebruik.

Thesis (MMus) -- Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody. / AFRIKAANSE OPSOMMING: GEEN

This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.