The purpose of this study was to contribute research literature for readers interested in the exemplary curricular content and processes found in the beginning string classes of selected Indiana middle/junior high schools. Roots for this descriptive study were: (1) principles of Discipline-Based Music Education (DBME), (2) related literature written by expert music education theorists, (3) research data contributed by general education theorists, (4) data gathered from the business world supporting quality endeavors and (5) views of randomly- selected Indiana string education practitioners regarding their frequencies-of-use of the DBME components (in the Indiana 1994 Music Curriculum Guide) to guide students in attaining the eighteen proficiencies ( in the Indiana 1987 Music Curriculum Guide).The sample for the study consisted of sixty Indiana teachers of beginning middle/junior high school string classes (grades five through eight). Thirty-nine educators responded to the survey. The writer developed an original questionnaire to find which curriculum guide(s) the teachers had and how frequently they used the DBME components-criticism, history, aesthetics and production-to guide their students to attain the eighteen proficiencies listed in the 1987 Indiana curriculum guide.Circumstances proved favorable for the writer to formally visit and observe eight teachers working with classes at their schools. Qualitative observations controlled by three objective documents provided criteria to describe the processes apparent during the visits.This study indicated the following favored perspectives for teaching the eighteen proficiencies-in order: production, criticism, aesthetics and history. An in-service to describe the purpose and extensions of the plan might ease any apprehension of this new framework for teaching music as a core subject. The data suggested that fifty-four percent of the sample may be using the components of the DBME paradigm.Proficiency guidance was noted as lacking in attention regarding horizontal and vertical form, instrumental family sounds, basic interpretive skills, improvisation, composing and arranging, conducting, evaluation and developing an understanding of the role of music as an avocation and career. Perhaps, an approach stimulated by the framework of DBME will allow a stretch into these proficiencies and ignite new understandings. / School of Music

The ideas of Hideo Saito regarding conducting and conducting pedagogy are a valuable addition to the field, an addition that English-speaking people are likely to be unfamiliar with. Besides devising a unique collection of terms for talking about conducting, and assembling a set of exercises designed to facilitate the practice of a variety of gestures, Saito develops and operates from a framework which allows for the description and evaluation of almost any conceivable rhythmic gesture. While he pays attention to time, space, direction, size, and expectations, he often explores the ways velocity and changes in velocity can be employed to elicit desired sounds from players and singers. He is certainly not the first teacher to focus on the role of velocity in conducting gestures. However, the level of sophistication and thoroughness of his examination of velocity, and changes in velocity, is unique. His diagrams are noteworthy as well.Saito's conducting method is very popular in Japan. Seiji Ozawa, the Music Director/Conductor of the Boston Symphony Orchestra for more than 25 years, is just one of Saito's students who have had very successful conducting careers.This dissertation, in combination with accompanying videotaped examples of Morihiro Okabe teaching in the authentic Saito tradition, will provide the reader with an introduction to and an evaluation of the Saito conducting method. The reader will learn how to interpret Saito's diagrams of conducting motions, discover who the key people are, and view a Saito teacher instructing students. The reader will be introduced to the core teachings of Professor Saito, see what Saito's primary musical exercises are, and see how these exercises are used to promote musical and technical competence in conducting. This dissertation seeks to give the reader a foundation for further investigation of Saito's ideas and practices.This dissertation proposes, and employs English names for many gestures Saito labeled in Japanese. The Japanese terms are very descriptive of the motions. Providing equally descriptive English terms should be helpful to readers who are not fluent in Japanese. / School of Music

There is no abstract available for this dissertation.

The primary purpose of this study was to clarify the underlying principles of singers' resonance and to examine some of the pedagogical practices associated with the traditional schools of singing and contemporary voice science. The secondary purpose was to determine which principles should be retained, discarded, or altered.An examination of the voice pedagogy literature revealed recurrent references to resonance. This implied that the concept is of some importance to voice pedagogy. Singers' resonance has, however, been presented in diverse contexts indicating that (1) it has a number of denotations and connotations, (2) it is sometimes used ambiguously, or inaccurately, and (3) a further investigation of the topic might yield clarity to the field of voice pedagogy.It was determined that though there are many important voice pedagogy methodologies, classically trained professional concert and opera singers of international reputation are taught to optimize singers' resonance both in order to be heard and to produce the accepted tone. It was found that those precepts which are based upon acoustic laws should be conserved and those which are not should be abandoned, altered, or when appropriate, acknowledged as metaphorical. / School of Music

No description available.

The integrated method proposed and worked out consisted of integration of vocal and voice-speech teaching techniques as well as integration of the empirical and mechanical methods of teaching. Balance and co-ordination between external and intra-pharyngeal articulation were considered as a framework for integration of various methods of teaching. Magnetic resonance imaging (MRI), along with spectral analysis, was used to demonstrate the work of intrapharyngeal muscles while singing and to assess the quality of vocalization. 54 MRI expositions were generated for the set of vowels, pitches and modes, of which over 400 MRI images were synthesized and measured. When switching from amateur to professional way of singing, radical transformations of size, shape and to some extent, changes in the surface properties (density, porosity) of muscular tissue of intra-pharyngeal cavities were observed. New acquired MR images clearly showed that the axial section of the back cavity appears indeed much larger in the professional mode than in the amateur mode. Statistical analysis showed that this difference is statistically significant. It is shown that the work on muscles development and use of mental images/imagination must progress in close collaboration. The strategy for the gradual mastering technique of the opening of the vocal tract was suggested, and developed. A new approach was developed to be applied for students to get stable repeatability when they work with mental images. Obtained MR images were used as a part of visualization method during experimental work with students. MR images helped students to create proper mental images. The theory of tangible images was suggested and then successfully applied in the form of experimental work with students. Experimental work with students of the ethnic group Maori was conducted. This experimental work with Maori students demonstrated that the integrated method of teaching helped to overcome some physiological and psychological specific problems which require special techniques of training. Case studies were carried out to assess individual and students' group perceptions, along with interview techniques and a survey questionnaire. The results of the survey are presented graphically, and statistical processing of the data was performed. The results of the survey are interpreted and discussed.

Carl Czerny (1791-1857), whose works number over one thousand opuses, had an active career a composer, pianist, exponent of Beethoven, piano teacher, and theorist. He has received lots of criticism both during his lifetime and ever since. Even nowadays, though many of his piano exercises are popular items for many teachers and pupils ranging from beginners to virtuosi, Czerny is still rated as a master of mechanical works that focus mainly on the right hand. This study will argue that Czerny is much underrated, particularly as a pedagogue, and aims to find out what are the underlying principles that Czerny embedded in his piano pedagogical works, what made them indispensable in the teaching of piano playing and to what degree they present other musical elements which are not purely mechanical in order to reassess Czerny?s achievements in the field of piano pedagogy. The discussion is based on the original English edition of Czerny?s Opus 500 Complete Theoretical and Practical Piano Forte School (1839), its Supplement, as well as Czerny?s other pedagogical works, such as Op. 139, Op. 299, Op. 365, Op. 755 and Op. 821. In addition, other selected pedagogical works and representative keyboard method books and exercises (excluding works for the organ) by other authors up to Czerny?s time are discussed for enriching the discussion. Through a detailed analysis of Czerny?s Opus 500, this study identifies fifteen parameters in his teaching sequences that range from beginner to virtuoso and the findings are clarified and contextualized within the field of 19th century piano pedagogy. These fifteen parameters are also exemplified in four selected opuses of Czerny, and through the ?Exam Pieces? of The Associated Board of the Royal Schools of Music. These are used to justify the applicability of the parameters in the learning sequences intrinsic to the graded piano qualifying examinations nowadays. It is argued that in view of the rich pedagogical content of Czerny?s work both technically and stylistically, together with the systematic teaching sequences that he presented in his piano pedagogical works, Czerny?s contribution to the art of keyboard playing should be well acknowledged.

The study explored the influence of environmental catalysts, upon the provision of field specific opportunities for learning, training, and practice, for a sample population of musically involved young Australians. The findings enhance understandings of the conditions in which children's musical aptitudes are developed. Research bases in the fields of gifted education and music education were employed to support the investigation. Components of Gagn??'s Differentiated Model of Giftedness and Talent (1995a) provided the theoretical framework for this investigation. Two survey questionnaires, completed by Australian parents (N = 194 and N = 182 respectively), sought information pertaining to the subject child's musical involvements and undertakings. Some details of the musical interests and involvements of the child's parents and siblings were also obtained. Quantitative and qualitative data contribute to an extensive profile of the types of music programs and provisions which support the normative and expert development of Australian children's musical behaviours. Parents' musical interests and involvements appear to have strongly influenced the choice of home-based recreational pursuits for their children. The convincingly articulated, positive, field specific views espoused by Australian parents appear to have been translated into the provision of multiple, simultaneous opportunities for their children to engage with musical undertakings. Notable amongst the data are the structured involvements of young musicians with music composition engagements. The data also indicate that many of the sample of Australian children received high levels of support and encouragement for musical undertakings from parents who were themselves musically interested and knowledgeable. Parental involvements with their children's music lesson and practice related engagements, were found to be characterised by features of deliberate practice. The home-based environments of young Australian musicians were found to be characterised by opportunities for exposure to rigorous and challenging musical engagements, undertaken at an optimally early age, thereby enhancing normative musical development. Such engagements provided the necessary foundation for expert levels of musical skill acquisition. An ascending progression of musical skill development was demonstrated to correspond to increasing age further reinforcing the developmental perspective on the acquisition of musical expertise. Some parents indicate that musical engagement has been pursued as a means of appropriately challenging children exhibiting the cognitive and affective characteristics of giftedness.

This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children. / A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study. / Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study. / An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children. / Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972). / A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.

Ultimately, the unity of vision discernable in the philosophies and teachings of Dalcroze, Kodály and Orff may stimulate contemporary music educators to unify their search for newer and ever more meaningful ways to ignite the spark of musical curiosity in the young, to assist in the development of musicians, and to generally help people discover and appreciate the joy of music.