No description available.

No description available.

The purpose of this thesis was to show that cooperative learning strategies are suitable teaching techniques for the instruction of undergraduate music theory. Literature in music theory pedagogy has concentrated primarily on content-based teaching issues and offers little information on the range of teaching techniques available for promoting student learning. Many instructors may be relying on traditional teaching methods with which they are familiar-lectures, lecture-demonstrations and teacher-led discussions-to instruct tonal theory classes and may not be aware of cooperative learning or its potential usefulness as another instructional strategy. The body of this thesis is divided into three main sections. The opening section demonstrates how traditional teaching methods alone fail to meet many learning needs of students and points to cooperative learning strategies as one alternative method that addresses these needs. In the next section, cooperative learning is further defined in order to differentiate it from traditional group work. The third and largest section contains ten sample lesson plans based on topics central to first- and second-year tonal harmony courses. Each lesson includes at least one cooperative learning technique and a discussion of why the particular technique was applied to the topic. Instructors of tonal harmony who are looking for additional teaching strategies that actively involve the learners should consider using cooperative learning. The sample lesson plans offered in this thesis illustrate how these techniques may be used either briefly in conjunction with more traditional methods or on their own in more extensive activities. Variety within cooperative learning strategies has also been demonstrated by providing techniques ranging from simple, user-friendly ideas for the inexperienced, to more complex and challenging activities requiring higher levels of experience and collaborative skills. A selected bibliography is included to assist readers in becoming familiar with some of the resources available to those who use cooperative groups for instruction.

Intergenerational programs that bring together young people and older adults have been the subject of investigation in recent years. However, there is little research on the topic of intergenerational education programs, and virtually no research on collaborative, intergenerational music education programs in public school settings. This study sought to capture senior citizens' reflections on their experience as co-participants with adolescents in an Ontario Ministry of Education fully-funded daytime instrumental band program. This program has been running continuously and successfully at a high school since 1994. The site is a rich source of information about the ways in which seniors interact musically, socially and educationally with their own age cohort and with adolescents in this co-learning environment. Qualitative data were gathered using tools of ethnography including participant observation, interview and document analysis, while quantitative data regarding demographic and other information about participants' backgrounds, experience, practice habits and so forth were gathered by means of a questionnaire. An instrumental case study approach was used to investigate the associations of young and old both in social and learning contexts in a broad sense, so that the findings would not be limited to the specific interactive associations that occurred in a music learning and performance environment, but could be applied to other intergenerational associative situations. The study reports on the personal, social and intellectual benefits that senior participants divulged as they reflected on their participation in an intergenerational instrumental music program. The study concluded that an active daytime high school music program that included senior citizens as registered music students, which supported the interaction of young and old as equals in music learning activities, resulted in a greater understanding, acceptance, care, respect and appreciation of one age group for another. Recommendations for social policy regarding support for intergenerational, collaborative, publicly funded educational programs are offered.

Note: / lntergenerational programs that bring together young people and older adults have been the subject of investigation in recent years. However, there is little research on the topic of intergenerational education programs, and virtually no research on collaborative, intergenerational music education programs in public school settings. This study sought to capture senior citizens’ reflections on their experience as co-participants with adolescents in an Ontario Ministry of Education fully-funded daytime instrumental band program. This program has been running continuously and successfully at a high school since 1994. The site is a rich source of information about the ways in which seniors interact musically, socially and educationally with their own age cohort and with adolescents in this co-learning environment. Qualitative data were gathered using tools of ethnography including participant observation, interview and document analysis, while quantitative data regarding demographic and other information about participants’ backgrounds, experience, practice habits and so forth were gathered by means of a questionnaire.[...] / Les programmes intergénérationnels qui réunissent jeunes et aînés ont été l’objet d’études au cours des années récentes. Cependant, il existe peu d’études sur les programmes d’éducation intergénérationnelle et pratiquement pas de recherche sur les programmes en collaboration intergénérationnels d’éducation musicale dans des écoles publiques. La présente étude avait pour objectif d’obtenir les réflexions d’aînés concernant leur expérience de participation, en collaboration avec des adolescents, à un programme de jour d’ensemble instrumental entièrement subventionné par le Ministère de l’Éducation de l’Ontario. Il s’agit d’un programme offert sans interruption dans une école secondaire depuis 1994 et ayant connu beaucoup de succès. Le site constitue une source précieuse de renseignements sur la façon dont les aînés réagissent tant sur le plan musical que social et éducatif avec la cohorte de leur propre âge et avec des adolescents dans un environnement d’apprentissage en commun. Les données qualificatives ont été recueillies au moyen d’outils d’ethnographie y compris l’observation.[...]

'There is more to a song than meets the ear' to paraphrase an old adage. This 'more' refers particularly to certain songs in which the acoustic properties of the music move in confluence with spoken English. This 'more' refers to a particular process through which children learn songs, and once learned engage with them as objects of thought and represent them in symbol. This 'more' refers to particular songs as events aptly suited to circumscribe the temporal/spatial, perceptual/motor, emotional/social, imaginative/cognitive engagement of children-as-learners. The dissertation is a narrative in which the author traces the story of her transformation from being a successful symbol-to-sound music teacher, to becoming a sound-to-symbol educator of children and the teachers of children.

The Journey From Instrumentalist to Musician is a reflective study that addresses the effect of the Conservatory method in musical performance. The discussion begins with the author's early experiences as a young piano student who wanted to please her teacher and after many hours of practice soon became a performance specialist - a performance specialist who excelled as a pianist. The instrument that she studied, instead of the discipline of music itself, it what defined her a pianist. Throughout her early music career, she learned that exact replication of the score was more important than the process of creativity and individuality. The Conservatory method often emphasizes the importance of teaching specific instrumental skills rather than simply teaching music. This prompted the author to explore philosophies of music educators who were not considered educators of the traditional conservatory method. After discussing the methodologies of Suzuki, Kodaly, Dalcroze, and Orff, the author then reflects on her own educational methodology. In evaluating the methodolgies, the author identified four common themes for comparison: rhythm, pitch, recognition, patterning of sounds, and literacy. Through the discourse the author bridges the gap between the instrumentalist and the musician by comparing the methodology of these music educators and that of the conservatory through her own experiences. / viii, 108 leaves ; 28 cm.

This study examined the role Canadian music plays in the preparation of secondary school music specialists in British Columbia. Programme content was explored through an analysis of course calendars, a review of student, faculty and guest recital repertoire, and interviews with post-secondary instructors and senior music education students. Fourteen music specialists completed a checklist in order to determine what Canadian materials are being used in the classroom. Follow-up interviews were conducted with three teachers to further explore the selection of teaching materials. An official from a local school board and a participant in the development of music curriculum documents were also interviewed to ascertain the value placed on Canadian music by local school boards and the Ministry of Education. Findings identified a need for increased Canadian content in all facets of post-secondary teacher training in order to expose secondary music specialists to available Canadian resources. Implications for further research are discussed.

No description available.

No description available.