Thesis (M.M.)--University of Michigan, 1957.

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The purpose of this survey was to analyze the course of study in instrumental music prescribed by the Texas State Department for the high schools of the state and to determine whether or not a coordinated and well-rounded program of education in instrumental music is being offered in the schools of Texas. It was hoped, furthermore, that, by comparing this program with others elsewhere, this analysis might show whether or not Texas is following any general trend in instrumental music education.

published_or_final_version / abstract / Music / Doctoral / Doctor of Philosophy

by Lee, Lo Ping Arthur. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997. / Chapter (1) --- "Two Bagatelles for Violin, Cello and Piano (1995)" / Chapter (2) --- "Three Scenes for Flute, Oboe, Clarinet in B-flat, Horn in F, Bassoon and Piano (1996)" / Chapter (I) --- "Introspection (for Flute, Oboe, Clarinet in B-flat, Horn in F and Bassoon)" / Chapter (II) --- Monologue (for Flute Solo) / Chapter (III) --- "A Mental Walk (for Flute, Oboe, Clarinet in B-flat, Bassoon and Piano)" / Chapter (3) --- """ Dies irae"" for Soprano solo, SATB chorus and Orchestra (1997)"

This study provides new insights concerning the development of professional identity in instrumental teachers working in a range of professional contexts in the UK. The analysis shows the extent to which musicians are embedded in the culture of instrumental music education, suggesting that aspects of the field, including high levels of autonomy, are more closely related to professional identity than notions of hierarchy and status. The understandings of instrumental teachers’ lives and identities revealed in this research could be used to inform and enhance existing approaches to careers in music and contribute to career preparation in undergraduate music students. Using an explanatory sequential research design to combine data from a national survey of instrumental teachers with findings from individual case study interviews and one focus group, the research prioritises the lived experience of participants in generating understanding of professional lives and identities in this context. An analysis using Bourdieu’s notions of habitus, field and capital examines the ways in which individuals negotiate the field of instrumental music education, revealing a complex and nuanced approach to professional identity developed through practical experience in this context. Instrumental teaching in the UK is characterised by a lack of regulation and curriculum, where individuals are able to teach with no training or qualification (Swanwick 1994, Woodford 2002). The literature suggests conflict in instrumental teacher identity where individuals prefer to identify as musicians or performers rather than teachers, attributing these choices to the lower professional status of instrumental teaching in the hierarchy of professional roles in music (Mills 2004b, Roberts 2007). This research however suggests that expressions of identity in this context relate to specific meanings associated with the role and identity of professional musician for individuals involved in portfolio careers involving teaching and highlights the need to revise existing notions of the professional musician to acknowledge contemporary careers in music.

My main research was to write a theatrical work combining Japanese text with music that is to be performed as ‘shadow play' theatre. This was my first attempt to create such a large-scale work, writing both the music and the text. There have been discoveries during the process of working on this large project. Most significant was my awareness of what makes my creation more ‘individual' or ‘original' as a composer. Personal experiences and background are basically reflected on determinations of what is to be written next and how to process materials. In my case, these determinations often come out of my experience of the mixed cultural environment which is that of Japan, even if it is not my intention to be ‘Japanese'. Among the elements behind Japanese culture, I discovered key words which are time, space, colour and nuance, and these, particularly, became my strong concerns. The portfolio comprises seven works which I composed during the research period, which was from 2004 until 2010. The first part of this commentary will be a description of my thoughts on composition, particularly on what made my works individual and original. In the second part, I will be focusing on the details of my main work Kosatsuki for shadow play. The portfolio comprises the following seven pieces. • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • In the Gray Dawn for orchestra (2006) • The moon out of the blue for ensemble (2007) • Echoes from the inland sea for string quartet (2007) • Song of the Muro Women for voice and piano (2008) • Kosatsuki for shadow play theatre (2010) comprising a script and a score Recordings of the following pieces are also found on the CD enclosed. [mp3 files encoded and apended here] • dialogues for ensemble (2004) • The brother sun, the sister moon for cello and piano (2005) • The moon out of the blue for ensemble (2007).

This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.