<p> The purpose of this study is to examine the social and historical foundations of the music education program in the Baldwin Park Unified School District in terms of personnel, organizational structure, performance activities, funding, and district support in order to gain an understanding of how the program has developed, sustained, and thrived despite significant challenges during the years 1950-2015. Whereas many school districts in California have elected to drastically reduce or cut funding to music programs, BPUSD has maintained a robust music program in the schools for more than 65 years. Demographic information indicates that the city of Baldwin Park, fifteen miles east of Los Angeles, is one of the lowest socio-economic regions in the state; this economic factor is among the challenges the district has faced throughout the years. </p><p> Data from this historical overview include interviews with former BPUSD music teachers and artifacts in the form of district personnel records, school yearbooks, concert programs, photos, newspaper clippings, and personal correspondence. Data also revealed there was strong leadership due to the administrative position of Music Coordinator held by Bob Greenwell from 1960 to 1986 and by Danny Wagner from 1986 to 2005. Under Greenwell&rsquo;s leadership, a graduated music program was implemented for grades four through 12 &ndash; a structured program having elements that are still recognizable today, more than 60 years later. Collegial interactions between music teachers provided an environment for all BPUSD students to have equal opportunities to quality musical training and experiences. Program elements such as traditional performance activities &ndash; concerts, parades, field shows, and evaluation festivals &ndash; are examined with a particular focus on the role and perceived value of competition. </p><p> The investigation into this musical tradition will be beneficial to music teachers, school administrators, students and parents alike, by providing an understanding of the social and historical influences. This study will serve to fill a gap in the comprehensive history of California public school music education, documenting the early historical events occurring in this district. It will contribute to the general field of knowledge of historical music education and will benefit the Baldwin Park Unified School District by conveying a detailed account of past music education activities and providing school leadership a strategic tool for future planning.</p><p>

After having spent a number of years in the teaching profession, the writer has become aware of the need for a study dealing with the specific and technical problems in playing the cornet.

One of the aims of education is to cultivate democratic citizens in the interest of consolidating and expanding a democratic ethos in society, yet the democratic purpose and societal contribution of music education in public schools have not been fully explored. This philosophical research addresses the unique capacity of music education for enhancing democratic values in societies where issues caused by diversity and difference prevail. This work takes note of the fact that although music teachers have recently shown greater awareness and understanding of the diversification and differences of students, they continue to struggle with handling associated issues adequately. This failure to deal with diversity effectively has led to the exclusion and discrimination of certain individuals or groups in music classrooms and resulted in hindering the realization of democratic values of equality. To rectify these problems, I argue that the purpose of music education and its principles must be reframed and reconsidered using a democratic lens. This thesis first undertakes an analysis of the association of music education with democracy by classifying various music education practices according to types of political systems (e.g., monarchy, oligarchy, and democracy) and analyzing music education philosophies that have supported those music education practices. This examination and analysis will lead to identifying the purpose and principles of democratic music education. Second, this work demonstrates how music education might contribute to the democratization of society with a two-layered goal: democratization through the pursuit of psychosocial equilibrium and democratization through the transformation of nondemocratic realities. The final section of this thesis offers examples of democratic music educational practices in music appreciation, performance, and composition education. / Graduate

This Field Study Report represents a preliminary inquiry or prolegomenon to a Philosophy of Music Education in Australia. My concern here is with the nature and function of music in Australian education, especially of young people. I am not concerned with the technical details of education and training in the musical art itself: my aim is rather to distinguish and account for public and professional attitudes towards music in Australian education, by identifying their philosophical sources and social determinants. The Introduction begins with a general historical background, including detailed references to the important developments of the past decade that have dramatically altered the role and raised public awareness of music in Australia. Chapter I, 'The Politics of Music in School and Society' argues that the philosophy of music education derives from two classical sources: Plato, the inspiration for music educators in totalitarian societies; and Aristotle, for education in the liberal democracies. A recent review (Sparshott 1980) indicates that these two philosophies are still key positions in the field. Chapter II, 'The Tradition of Music in Australian Education' shows how the philosophies of Plato and Aristotle, with Locke's utilitarianism, have influenced music education since colonial times, and how British pedagogical traditions have been modified by adaption to a new society and ethos. Chapter III, 'Music in Contemporary Australian Education' reviews recent empirical studies of the subject, showing, the persistence of traditional attitudes and basic problems. Chapter IV, 'The Right to Music: Aims and Methods' reports the empirical part of this Field Study - recorded interviews and discussions with adults and children involved in Australian music education and associated activities. These were the subject of a series of eight radio programs, first broadcast nationally by the Australian Broadcasting Commission, November 1979 to February 1980, subsequently rebroadcast twice, and now published on cassette (1981) Chapter V, 'The Right to Music : the Broadcast Series' consists of cassette recordings of the broadcast discussions, together with minimally edited transcriptions of the text. In my Conclusion, 'Philosophy of Music Education in Australia: the Three Traditions', I offer a preliminary analysis of contemporary Australian attitudes towards music in education as revealed by the broadcast discussion. I conclude that, while Australian music educators have been untrained philosophically, their attitudes (like those of society at large) towards music in education derive, in the main, from Plato, Aristotle and Locke.

<p> As researchers learn more about the human mind, educators adapt their curriculum to accommodate those findings. As these changes take place, school districts are offering different types of classes to help more students find success in their classes. One of the ways that music educators can contribute to these changes is to offer music classes other than the traditional band, choir and orchestra class. By adding a guitar class to the music curriculum, music teachers are opening the doors for more students to be able to learn about music and learn to play an instrument. Particularly, a guitar class is an effective way to include students with special needs in a music program. </p><p> This thesis will investigate adaptations designed for three students with special needs in a high school guitar class. Student A has been diagnosed as Autistic, Student B has been diagnosed with Asperger's disorder and also has behavioral issues and Student C has been diagnosed with a specific learning disability as evidenced in the areas of auditory processing and expression. The case studies provide an example of how accommodations and adaptations can easily be implemented within a guitar class curriculum for students with these types of learning disabilities.</p>

<p> This thesis is directed toward teachers who work primarily with music degree students on the collegiate level. Pedagogy is simply too often "hit or miss" in a student's degree curriculum, and yet the reality is that most musicians will have to teach at some point in their careers, whether they realize it as students or not. </p><p> This thesis provides a model for how to holistically integrate pedagogy into all aspects of the performance curriculum, so that string performance students are provided with the necessary tools to be both excellent performers and teachers, regardless of whether they ever take a pedagogy class. This is accomplished through: the examination of survey results regarding how schools are incorporating the National Association for Schools of Music requirements and recommendations for the integration of pedagogy into course curricula; an overview of survey results reporting how string performers and educators feel about the quality of the education they received in regards to preparedness for artist string teaching; and a discussion of how to create a holistic curriculum for performance and pedagogy that encompasses the three main areas of most string performance curriculums (the private studio, chamber music, and orchestra). </p><p> The overarching goal of this thesis is to build on the rich tradition of string playing and teaching that already exists, by introducing a curriculum that will holistically educate the student as both performer and pedagogue. At the heart of this approach is the need for fostering a "see one, do one, teach one" mentality in students.</p>

Master of Music / School of Music, Theatre, and Dance / Frank Tracz / The following report is an in depth research and analysis project based on the graduation requirement for a Masters in Music degree from Kansas State University. The product of this project was a performance at the Iowa Jazz Championships by the Xavier High School Jazz Band One (Cedar Rapids, IA), Kelli L. Swehla, director. This performance was held on March 31, 2015, at the Community Choice Credit Union Convention Center (part of the Iowa Events Center), in Des Moines, IA. The repertoire included Hay Burner by Sammy Nestico, A Child Is Born by Thad Jones, The Next Chapter by Patty Darling and Uchibeng Wow-Wow by Michael Philip Mossman. The theoretical, historical and technical analyses of this process were collected using the Unit of the Teacher Resource Guide, developed by Richard Miles and the Macro, Micro, Macro score analysis form developed by Dr. Frank Tracz. This report also includes documentation of the planning and evaluation of each rehearsal.

This ethnographic study examined the relationship between the sense of community and music education within the community of Santa Marta in Rio de Janeiro, Brazil, and a public high school in New York City. Guided by Turino’s (2008) framework for participatory music making and McMillan and Chavis’s (1986) framework for the sense of community, the pedagogical and musical practices of Santa Marta were observed and analyzed to form a definition of a participatory music community. This definition was used to examine the impact of participatory practices on a samba ensemble within a New York City high school. The findings describe how participatory music education both influences and is influenced by the participants’ senses of community in both settings and explores applications of participatory music methods to school-based music, particularly within urban settings. Participatory characteristics were found to be imbedded in samba’s musical structure, including the repetition of rhythms, the simultaneous use of advanced and simplified patterns, and the flexibility of the size of the ensemble. Music events in Santa Marta often lacked artist-audience distinctions with situations of performance and learning occurring simultaneously. Decentralized group learning was found to be a pedagogical tool with information stored in the community’s memory. Inclusive pedagogies, which allowed players of various skill levels to perform together in the same ensembles, maximized participation in both sites. These characteristics created a pedagogical structure that addressed many of the identified challenges of urban school music and provided opportunities for active student engagement. This study presents a possible way forward for music education in urban settings, a path based on creating an inclusive educational environment. In schools where sequenced music programs, funding, and stabile student populations don’t exist, participatory music has the potential to create ways for students of varying skill levels to find a place in school music communities.

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