Thesis (PhD) -- Stellenbosch University, 1993. / ENGLISH ABSTRACT: The purpose of this research endeavour is to develop an understanding of the general state of Aural Training as presented in Aural Training literature and at a tertiary level. Based on this understanding, recommendations for a theory towards Aural Training are furthermore made. The investigation consists of three main parts. In the first two parts, an in-depth theoretical study, exploring aspects such as the rationale behind Aural Training, teaching ideologies, contents and target group and methodological approaches found in published and unpublished sources, as well as a practical questionnaire-based survey, investigating selected Aural Training aspects as presented on a tertiary level in the Republic of South Africa (RSA), the Federal Republic of Germany (FRG), and the United States of America (USA) are presented. A model of an integrated Aural Training approach for children is proposed in the third part. Results from both the theoretical and practical surveys indicate that: (a) the rationale behind Aural Training has not been thoroughly thought through; (b) Aural Training lecturers with sound pedagogical credentials are needed; (c) prospective students are not prepared for their tertiary Aural Training courses; (d) the Aural Training curricula at most tertiary music institutions do not meet lecturers' expectations; (e) more instruction time is needed for classes scheduled in both individual and group tuition; (f) Aural Training literature and teaching methods are still influenced by the Behaviouristic school of psychological thinking, with its emphasis on drill and practice; (g) methods such as Sight Singing and Dictation are more frequently applied than others, possibly because they are readily quantifiable; (h) most emphasis is placed on tonal music; (i) research results in which holistic approaches to Aural Training have been recommended since the early 1980s are not reflected in the majority of Aural Training work-/textbooks and teaching methods; (j) commercially available software is often chosen because of its availability and not because of being based on sound pedagogical principles; (k) there is a growing interest amongst lecturers to re-examine the goals of Aural Training and to apply music psychological principles. Because of the already mentioned problem of improperly prepared prospective music students" and the scarcity of Aural Training approaches to develop children's musical consciousnesses, a model for integrating' Aural Training into the instrumental/vocal music lesson through composition is proposed. This model is based entirely on (a) the conviction that most effective learning takes place through active involvement and creation, and (b) music psychological principles such as Gestalt perception, the developmental theories of Piaget, Gardner and Swanwick-Tillman, and the musical thinking process theories of Prince and Webster. Through the application of this model, Aural Training can be approached by dealing with wholes within a musical context. Structural and perceptual thinking, as well as the mental principles of exploring, applying, problem-solving and critical reasoning can also be developed. It offers a comprehensive approach to learning written theory skills, and the opportunity to apply all other Aural Training methods. Examples of children's compositions are presented to support this model. It is finally recommended that: (a) Aural Training lecturers should constantly re-examine their objectives, contents, teaching philosophies and methods applied; (b) advanced courses in Aural Training should be offered at all tertiary music institutions in order to meet the need for adequately trained lecturers; (c) a compulsory course on the didactics of Aural Training should be offered for all music students; (d) more instruction time should be made available for Aural Training; (e) Aural Training should be treated in its own right in grading policies; (f) holistic approaches to both classroom-based and programmed Aural Training should replace drill and practice; (g) music from all style periods should be included; (h) a wide spectrum of Aural Training methods should be incorporated and not mainly Sight Singing and Dictation; (i) lecturers should inform themselves about recent research results and try to incorporate these into their Aural Training curricula and syllabi; g) Work-/textbooks and computer software based on holistic and comprehensive approaches to Aural Training should be released; (k) Aural Training should be incorporated from the very first instrumental/vocal lesson by applying an integrated, holistic approach through composition. / AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om 'n ondersoek te loods na die algemene stand van gehooropleiding soos daargestel in musiekliteratuur, en soos aangebied aan tersiere musiekinstansies: 'n Model vir gelntegreerde gehooropleiding word ten slotte voorgestel aan hand van hierdie inligting. Die inhoud van die ondersoek is in drie hoofdele georganiseer. In die eerste deel word In teoretiese ondersoek geloods na die redes vir, en doelstellings van gehooropleiding, onderrigfilosojiee, inhoud en teikengroep, en metodiese benaderingswyses. Die mate waarin hierdie aspekte, soos gevind in gepubliseerde en ongepubliseerde bronne, neerslag gevind het in tersiere gehooropleidingsprogramme in die Republiek van Suid-Afrika, die Federale Republiek van Duitsland en die Verenigde State van Amerika, vorm die kern van die vraelys-gebaseerde tweede deel. 'n Model vir gelntegreerde gehooropleiding met kinders word in die derde deel voorgestel. Resultate van beide die teoretiese en praktiese ondersoeke toon dat: (a) die redes vir, en doelstellings van gehooropleiding nog nie goed deurdink is nie; (b) spesiaal geskoolde gehooropleidingsdosente benodig word; (c) voornemende musiekstudente nie voorbereid vir tersiere gehooropleidingskursusse is nie; (d) die gehooropleidingskurrikula nie aandie vereistes van die meeste gehooropleidingsdosente voldoen nie; (e) meer onderrigtyd benodig word vir gehooropleiding, wat in beide individuele en groepsonderrig plaas behoort te vind; (f) gehooropleidingsmetodes steeds sterk belnvloed word deur die Behavioristiese skool van musiekpsigologiese denke waarin dril en herhaling beklemtoon word; (g) bladsang en diktee voorkeur geniet bo ander metodes, waarskynlik as gevolg van die feit dat studente se antwoorde makliker gekwantifiseer kan word as in ander metodes; (h) tonale musiek meestal beklemtoon word; (i) navorsingresultate waarin holistiese benaderingswyses tot gehooropleiding sedert die begin van die 1980's aanbeveel word, min tot geen invloed op die meerderheid gehooropleidingsteksboeke en -metodes gehad het; g) kommersieel beskikbare rekenaarprogramme dikwels gekies word op grond van beskikbaarheid en nie op grond van pedagogiese doelstellings nie; (k) daar 'n toenemende geinteresseerdheid onder dosente is om die doelstelling van gehooropleiding te re-evaIueer, en om musiekpsigologiese beginsels in gehooropleiding te inkorporeer. Vanwee die reeds genoemde probleemvan onvoorbereide voornemende musiekstudente wat gehooropleiding betref en die skaarsheid aan gehooropleidingsprogramme vir kinders, is 'n model vir die integrering van gehooropleiding deur middel van komposisie in die instrumentale en/of sangles voorgestel. Hierdie model is gebaseer op (a) die oortuiging dat die mees effektiewe vorm van leer plaasvind d.m. v. aktiewe betrokkenheid en skepping; en (b) die musiekpsigologiese beginsels van Gestalt-waameming, die ontwikkelingsteoriee van Piaget, Gardner en Swanwick- Tillman, en musikale denkprosesteoriee van Prince en Webster. Deur middel van hierdie model kan gehooropleiding benader word vanuit 'n holistiese oogpunt deurdat gehele binne 'n musikale konteks behandel word. Daardeur word nie net strukturele en persepsuele denke ontwikkel nie, maar ook verstandelike denkprosesse soos ontdekking, aanwending, probleemoplossing en kritiese denke. Dit bied ook die geleentheid vir 'n geheelbenadering tot die aanleer van musiekteoretiese kennis en skryfvaardighede, en die inkorporering van aIle ander gehooropleidingsmetodes. Voorbeelde van kinders se komposisies is ingesluit as bewys daarvoor dat dit weI in die praktyk toepasbaar is. Ten slotte word aanbeveel dat: (a) gehooropleidingsdosente hulle doelstellings, onderrigfilosofiee en -metodes voortdurend krities moet betrag en ondersoek; (b) gevorderde kursusse in gehooropleiding aan alle tersiere musiekinstansies aangebied behoort te word om sodoende te voorsien in die nood van onvoldoende geskoolde,dosente; (c) alle studente verplig moet word om 'n kursus in gehooropleidingsdidaktiek te volg; (d) meer onderrrigtyd ingeruim behoort te word vir gehooropleiding; (e) gehooropleiding as 'n vak in eie reg behandel moet word by puntetoekennings; (t) metodes van 001 en herhaling met holistiese benaderingswyses tot gehooropleiding in beide klaskamergebaseerde en geprogrammeerde onderrig vervang moet word; (g) musiek van alle stylperiodes ingesluit behoort te word; (h) 'n wye spektrum van gehooropleidingsmetodes aangewend moet word en me slegs bladsang en diktee me; (i) gehooropleidingsdosente hulself voortdurend op hoogte van die nuutste navorsingsresul-tate behoort'te hou en moet poog om hierdie resultate in hulle gehooropleidingsprogramme te integreer; g) gehooropleidingsboeke en rekenaarprogramme wat op holistiese en kontekstuele benaderings tot gehooropleiding gebaseer is, gepubliseer moet word; (k) gehooropleiding vanaf die eerste instrumentale en/of sangles gei'ntegreer behoort te word deurdat die voorgestelde model van 'n holistiese benaderingswyse d.m. v. komposisie aangewend word.

Estelle Liebling (1880-1970) was a phenomenally successful voice teacher who occupies a place in the chain of succession of voice teachers devoted to the ideals of the bel canto. Turning out over seventy-five Metropolitan Opera stars over the fifty-plus year span of her teaching career, she was regarded during her lifetime as one of the most distinguished voice teachers in America. Her editions, compositions, and pedagogical writings exerted an influence on the world far exceeding the boundaries of the New York professional musical sphere in which she operated. Despite this, almost nothing has been written to date that documents her contribution to the world of singing. Much of Liebling's pedagogical outlook was derived from that of her immediate predecessor, Mathilde Marchesi, and direct comparison of Liebling's Vocal Course to Marchesi's Theoretical and Practical Vocal Method shows this relationship. Liebling herself acknowledged Marchesi's influence, but the pedagogy she espoused was by no means a carbon copy of that of Marchesi. Important differences exist, distinguishing Liebling's pedagogy as separate and individualized, a legitimate successor to the Marchesi Method. Liebling's legacy consists not only of her teaching and pedagogical writings, however. The tremendous body of vocal literature which she edited, arranged, and composed, mostly for coloratura soprano, is enough in of itself to justify her place in music history. Additionally, her catalogue work of cadenzas and ornamentation for coloratura soprano literature still stands today as the monumental work on the subject.

There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.

The purpose of this project is to develop a research-founded semiotically-based, holistic philosophy for utilizing quality, child-tested music, movement and drama resources in an integrated learning format and to provide workable activities within an accessible, understandable structure for use by the teacher in kindergarten through third grade classroom situations. Since children are "meaning makers," it is logical to create an approach for classroom teachers to use which builds on what children need most to help them make learning connections: an integrated format which helps children understand how learning fits together or makes sense. This project organizes music, movement and drama activities thematically in content areas which are ordered from simple to complex to accommodate the age range to which the project is directed.

No description available.

The primary purpose of this study was to investigate the subjective and objective career success perceptions of music school graduates who now identify as professional musicians. This study approached that purpose in four ways. First, the study examined how musicians conceptualized success compared to the literature. Second, the study investigated how musicians conceptualize how success is shown in themselves relative to how it appears in others. Third, the study examined if and how musicians attribute the success that they have achieved in their careers to the institutional preparation they received at academic institutions. Fourth, the study investigated the possibility that geography may play a role in sculpting the perceptual values and qualifiers of success in musicians. This study was informed by the literature surrounding the area of careers, career success, career development as it pertains to musicians, and career success as it pertains to musicians. A survey was the research tool utilized for this descriptive study, and the survey was constructed and facilitated via Qualtrics Software. The survey included 26 Likert-type questions and seven open-ended questions. The sample population used for this study was 326 participants from the New York City Chapter of the American Federation of Musicians Union. The data that was collected from the survey was organized, analyzed, and synthesized to discover emerging themes and answers to the guiding research questions. The findings of this study suggest that musicians understand and value the points of the comparison that those outside of the field of music may use to value and evaluate their own careers. The findings of this study also suggest that musicians may perceive some of the underlying components that make up career success differently in themselves that they do in others. Further, support is provided in this dissertation for the understanding that objective career success and subjective career success are linked in a way that is underrepresented in the literature, and thus is underrepresented in the discussion of the two concepts.

THE USE OF COMPUTERS IN MUSIC EDUCATION IN SOUTH WEST AFRICA ZOHOVj Ashley Mark, M. Mus. University of the Witwatersrand, Johannesburg, 1986. This study compared CAT with conventional group-class Instruction to determine the degree of skill proficiency in interval and rhythm dictation obtained by students exposed to the alternate forms of instruction. Forty-three students attending the Windhoek Conservatoire, aged between eleven and fifteen years, volunteered to participate, A modified pre-test/post-test control group design was used. A researcher-built pre-test was administered and students were matched according to interval scores and grade level. Each pair was then randomly assigned to either the experimental (GAI) or the control (teacher) group: Intervals. An inverse assignment of these intact groups was made. The control group now became an experimental group (CAT: Rhythms), while the pre-defined experimental group was treated as its control (teacher: Rhythms), Each student received CAT and group-class instruction for two half-hour sessions per week for six months (14-18 hours of instruction), GAI was administered using the Micro GUIDO Ear Training System, specially adapted by the researcher to suit study at a grade level. Results of the non-parametric tests indicated no difference between E and G groups (p » ,05). Results favouring the E group in interval recognition were obtained (p = ,10). Further, the C group showed a greater proficiency in ability to notate rhythms correctly (p - , 10). No differences were observed in a comparison of sex, age and degree of theory knowledge among students receiving GAI (p " >05), A positive response by students to GAI was Indicated in an attitudinal questionnaire, It was concluded that CAI served as a feasible alternative to conventional instruction but that optimum benefits would be derived if used as an adjunct to conventional instruction.

The Atlanta Symphony Orchestra Choruses—the Atlanta Symphony Orchestra Chorus (ASOC) and the Atlanta Symphony Orchestra Chamber Chorus (ASOCC)—have become exemplars for the performance of choral-orchestral repertoire. Exhibiting the highest professional technique yet infused with the unqualified love and commitment of their volunteer members, the ASO Choruses are an enduring legacy of their founder, Robert Shaw. The purpose of this dissertation is to examine and formally document how the Atlanta Symphony Orchestra Choruses were formed, how they grew and flourished, and how they have continued to thrive under new artistic leadership. Robert Shaw founded the Atlanta Symphony Orchestra Chamber Chorus (ASOCC) in 1967 followed by the Atlanta Symphony Orchestra Chorus (ASOC) in 1970 to perform choral-orchestral masterworks with the Atlanta Symphony Orchestra as a core component of its repertory. Shaw and his assistants employed specific organizational and musical systems to form and build the ASO Choruses. Shaw transformed these choruses into world-class ensembles through uncompromising discipline and a firm belief in the power of unison singing. The resulting unanimity—a hallmark of the ASO Choruses—was heard in every aspect of the sound of the ASO Choruses. This sound was characterized by warmth and roundness, exceedingly crisp diction, immaculate dynamic control, precision of pitch and metrics, and the smoothness and transparency of a chamber ensemble. Shaw worked tirelessly to develop a community of musicians and supporters that cared deeply about music and the Arts. The ASO Choruses, while auditioned, were volunteer ensembles in contrast with other notable symphony choruses, such as those of Chicago and San Francisco, which had a paid contingent of singers. The ASO Choruses were unique for having attained an extremely high level of excellence while remaining entirely volunteer. Chorus members committed substantial time and effort in support of their common love of music and excellence. The ASOC made its Carnegie Hall debut in 1976, and the ASO Choruses have returned there over twenty times. The ASOC made history on its international debut tour as part of the largest American performing arts organization to travel to Europe. More recently, the ASOC traveled to Berlin in three different seasons to perform with the Berlin Philharmonic. The ASOC has a significant, award-winning discography of over fifty recordings, including nine Grammy Awards for Best Choral Performance. Today, the ASO Choruses continue to uphold the legacy established by their founder, Robert Shaw. Under the present leadership of Norman Mackenzie (Director of Choruses), Robert Spano (Music Director), and Donald Runnicles (Principal Guest Conductor), the Choruses have engaged in new ventures that combine various art forms in an expanding repertory, which includes numerous commissions and premieres. In so doing, the ASO Choruses honor the vision for which the Atlanta Memorial Arts Center was created. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / June 19, 2017. / Atlanta Symphony Orchestra, Atlanta Symphony Orchestra Chamber Chorus, Atlanta Symphony Orchestra Chorus, Norman Mackenzie, Robert Shaw, Symphony Chorus / Includes bibliographical references. / André J. Thomas, Professor Directing Dissertation; Alexander Jiménez, Outside Committee Member; Kevin Fenton, Committee Member; Alice-Ann Darrow, Committee Member.

This treatise explores the historical background of instrumental educational outreach concerts, and provides an overview of current educational outreach programming. The closing section discusses educational outreach concerts presented by a solo violinist, and provides a blueprint for a teaching performance which explores the storytelling power of music. Newly commissioned works for solo violin are included which are especially suited for outreach performances for children. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Spring Semester 2018. / April 4, 2018. / Composition, Music, Outreach, Performance, Storytelling, Violin / Includes bibliographical references. / Benjamin Sung, Professor Directing Treatise; William Fredrickson, University Representative; Greg Sauer, Committee Member; Shannon Thomas, Committee Member.

The goal of this treatise is to examine elements of jazz pedagogy that can be applied to improve musicianship in the undergraduate classical lesson setting. I have identified areas of classical pedagogy that would benefit most from these elements and have corroborated them with information from respected classical pedagogues. These concepts are addressed by examining both the classical and jazz pedagogical traditions and determining which approaches from the jazz methodology are conducive to supplementing the undergraduate classical lesson experience. I have provided suggestions for adapting and implementing these methods, with examples of supplemental exercises that may be incorporated by classical teachers included at the end of each section. The aspects of pedagogy that were chosen for this research were aural skills, harmonic awareness and application, and improvisation. More specific topics relevant to each to each of these are discussed within each chapter. All of the above are areas in which jazz musicians typically excel, so I studied their pedagogical methods to see what could be applied to the classical lesson structure for undergraduates. I conducted the research for this project primarily through interviews with pedagogues and performers of each style. Further evidence was gathered through lesson observations and examination of syllabi, articles, dissertations, and books. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Summer Semester 2018. / May 1, 2018. / Clarinet, Classical, Jazz, Lessons, Pedagogy / Includes bibliographical references. / Jonathan Holden, Professor Directing Treatise; William Fredrickson, University Representative; Deborah Bish, Committee Member; Jeffrey Keesecker, Committee Member.