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The purpose of this qualitative study was to investigate the processes in which eight and nine year old children engaged as they composed generative expressions with music and language. This study was a classroom-based ethnography conducted by a teacher/researcher in the context of her own general music classroom and the home room of the participant students. Twenty-one boys and girls in a suburban grade three class were involved in this four and one-half month study; three children were chosen as target (focus) composers. This study was designed so that the primary voice and point of view was that of the student-composers rather than that of the adult teacher/researcher. To that end, methodologies for data collection and interpretation were flexible and emergent, to allow for inclusion of unexpected events, interactions, foci/directions, etc. and to ensure that student-composers' self-described decisions about their work were at the forefront of the discussion and interpretation of the data. A framework was devised to inform and clarify the teacher/researcher's understanding of what the children were doing as they composed. This framework provided a flexible structure for organization and illustration of data used for interpretive purposes. Data collected included: 1) journals, written self evaluations and in-process verbal critiques by all students 2) video-tapes of focus composers in: a) working sessions b) reflective discussion with the teacher/researcher 3) video-tapes of all students in: a) in-process sharing/critiquing sessions b) final performances of compositions 4) field notes of the teacher/researcher, including observations, informal conversations with student-composers, and observations and comments of the home room teacher. Findings from this study included these insights: 1) For these child-composers, process and product were intertwined throughout the making of their compositions; 2) These child-composers began with a holistic idea of what they wanted to do and proceeded to explore, revise and polish their compositions in the particular medium until they reached their self-determined goal; 3) Socio-cultural factors of informal (enculturated or acquired) learning, and general maturity, were primary influences in decision-making in compositions with both music and language; 4) Training made a difference in the baseline starting point in composing ability, attitude, speed of the compositional process, and expectations for the final product; 5) These eight and nine year old children, untrained in music, demonstrated that they could compose rather than just improvise; 6) These child-composers went through the same four processes of exploration, making choices, editing/drafting, and completing a coherent product, when composing in two different modalities; they engaged in these processes recursively as well as sequentially in both media.

The purpose of this research was to gain an understanding of how music education students come to think of themselves as music educators. Guided by the thematic framework, "learning from experience", which draws upon research relating to constructivist theory and biographical inquiry, as well as literature pertaining to construction of images of self, this study explored four music education students' perceptions of themselves as musicians and as educators. Believing that self-perceptions are rooted in personal biographies, autobiographical and journal writings were investigated to establish links between participants' perceptions and biographies. Issues encountered by participants as they began to think of themselves as music educators were uncovered. / Participants' perceptions of their "selves" were rooted in childhood memories and models of practice. They interpreted, internalized and practised the tacit expectations of their models of practice. Subsequently, participants' images of self-as-musicians and self-as-educators were connected by a common thread, that of image of self. Participants who viewed self-as-performer encountered conflict between their identities as musician and as educator. Other participants constructed images of self-as-participants. As such, they experienced a sense of unity and resonance between their identities as musicians and as educators. / Issues directly related to their self-perceptions surfaced as participants began to think of themselves as music educators. The study considered the implication of these issues for teaching practice, and the relationship between these issues and preservice teacher training. This study concludes with a discussion of research implications and directions for reforming music teacher education.

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There is no abstract available for this thesis.

An attempt has been made to determine whether or not a handbook to be used by student teachers and a handbook to be used by supervising teachers would be a significant and worthwhile contribution, not only to Taylor University, but to education in general.

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There is no abstract available for this dissertation.

The first purpose of this study was to determine whether a statistically significant difference is observable between the effects of instructional gaming activities techniques and the effects of traditional lecture-demonstration techniques on the cognitive achievement of undergraduate university students enrolled in introductory music studies courses. The second purpose was to determine whether students evidence a statistically significant difference in their affective perceptions of these two teaching techniques when applied to university introductory music studies.Four null hypotheses were tested:H 0/1: At the conclusion of a five week experimental period, no significant difference (at the .05 level) will be evident between the experimental group (gaming techniques) and the control group (lecture demonstration techniques) on the posttest measure of cognitive achievement.H 0/2: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of cognitive achievement.H 0/3: At the conclusion of a five week experimental period, no significant difference will be evident between the experimental and control groups on the posttest measure of students' affective perception of the teaching techniques of their respective classes.H 0/4: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of students' affective perception of the teaching techniques of their respective classes. The research population consisted of 147 students representing each of the four years of university matriculation. Both the experimental group and the control group consisted of students enrolled in one class of a 100-level introductory course in music studies for the general university student ("music appreciation"), and in two classes of a 300-level course in introductory music studies for prospective elementary classroom teachers. Five experienced university instructors taught the six classes involved. A syllabus that included nine sequenced instructional gaming activities was designed specifically for use in the experimental classes.A 2 x 2 nonequivalent control group design was adopted to facilitate pair-wise analysis of mean scores. The experimental and control groups were statistically equated on the basis of College Board Scholastic Aptitude Test verbal and mathematical mean scores and cognitive achievement pretest mean scores. Posttest and delayed interval posttest cognitive achievement adjusted mean scores and affective perception observed scores were obtained. Significance of the treatment variable was determined by means of analyses of variance and covariance.Based on statistical findings, H 0/1 was rejected at the .05 level of significance at the 100-course level. Conversely, H0 was supported at the 300-course level. In other words, at the 100-level, findings of the posttest showed that students taught by means of gaming techniques attained a significantly higher level of cognitive achievement than students taught by means of lecture-demonstration techniques. At the 300-level, findings of the posttest showed that students taught by means of gaming techniques evidenced no significant differences in cognitive achievement compared with students taught by means of lecture-demonstration techniques. H 0/2 was rejected at the .05 level of significance at both the 100- and 300-course levels, but findings differed between course levels. At the 100-level, the class taught by means of gaming activities evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the class in which lecture-demonstration techniques were applied. At the 300-level, classes in which lecture-demonstration techniques were applied evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the classes taught by means of gaming activities.H 0/3 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a posttest measure of students' affective perception.H4 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a delayed interval posttest measure of students' affective perception.The findings of this study appear to support the following conclusions:1. The gaming activities developed for this study are an effective means by which to promote cognitive learning in university introductory music studies.2. The student population of this study strongly preferred gaming activities over lecture-demonstration as the teaching technique in university introductory music studies.

The study was designed to determine the scope of offerings, the clientele served, the organizational structure, and procedures for implementation relative to applied music programs in two-year colleges. The study was also designed to determine the extent to which selected senior colleges have accepted applied music credits earned by students from two-year colleges.