Thesis (M.M.)--Bowling Green State University, 2010. / Document formatted into pages; contains viii, 207 p. Includes bibliographical references.

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This qualitative case study, set within the sociocultural field of education, examined how intervention music lessons over the duration of one school year may have shaped the development of two seven and eight year old children presenting with social, emotional and behavioural difficulties. The students in the context of this research were selected from mainstream classes due to the emotional and behavioural difficulties they had exhibited. Through analysis of field notes, student iPad diaries and formal and informal interviews, an exploration into the impact of active and collaborative music learning and teaching on the social, emotional and behavioural learning of these students took place. The music learning and teaching was based around Eun’s (2010, p.405) socioculturally informed instructional model, which offers eight interrelated principles for instruction, namely that they should be: mediated; discursive; collaborative; responsive; contextualized; activity-orientated; developmental; and integrated. In examining the social and emotional development of these children during the music lessons, the emergent findings suggested that the intervention classes positively benefitted the children’s development in three main thematic areas, namely in personal competence, task competence and social competence. Although both children responded to the intervention music lessons in strikingly different ways, key findings highlighted substantial increases for both children in their self-esteem, possibly due to their success and achievements in music. The second pertinent finding was that the duration of the intervention programme itself was an important factor, with substantial increases being made in their affective development by the late research phase. Overall, this study highlighted the prominence of achievement in student’s affective development and I suggest that utilizing music as a vehicle for accomplishment for children presenting with SEBD, is a potentially powerful and influential resource.

Years now, sound-based music has been struggling to reach a wider public. Research supports that in order to promote sound-based music, it should be introduced at an early age in someone’s life to have the opportunity to familiarise himself/herself with it and accept it (Kopiez and Lehmann, 2008). This thesis investigates the implementation of sound-based music in public schools in Cyprus. Building on previous research aiming to introduce sound-based music ideas and concepts into the music classrooms (Savage, 2005; Higgins and Jennings, 2006; Wolf, 2008; Holland, 2011), this research aims at creating a sound-based music curriculum that will be appropriate for the implementation in such a teaching-learning environment in Cyprus. The research focuses on the Educational Reform Programme of Cyprus (2008-2015), which aims at modernising the Cypriot education system. This project offers the opportunity to investigate a set of sound-based music lesson plans, implemented in music classrooms. The research examines the reactions of teachers and students towards these lessons, and the evaluation of the lesson plans in order to be suitable for primary and secondary schools of Cyprus. It is an interdisciplinary project, allowing for educational as well as musical concepts to inform its content and structure. The research follows a grounded theory methodology, utilising a mixed-methods approach involving multi-site case studies and action research. In total of six schools, with six teachers and 117 students, eight different sound-based music lesson plans were created, implemented and evaluated, in a total of 18 lesson periods. During these lessons, a combination of questionnaires, interviews, observations, visual data and tests have facilitated the collection of both qualitative and quantitative information relating to the teachers, the students and the lesson plans. Findings of this research identify that the specific set of lesson plans implemented in the schools is considered as appropriate to be used in the music classrooms of Cyprus. The sound-based music lessons introduced new ways of using ICT in the music classroom, supporting the national initiatives of the Ministry of Education and Culture of Cyprus. It was also identified that these lessons offer an inclusive education, with creative activities, engaging students with the learning experience. However, the outcomes of the research recognised the need to understand the multidimensional change necessary to take place before such an implementation, such as the need to resolve any teachers’ concerns relating to the implementation of innovative material as well as any issues related to the equipment.

Was können Theorien, die das Allgemeine einer Situation ins Licht des Bewusstseins rücken, für die Beschreibung und Analyse von Situationen leisten, die durch die Einmaligkeit von Personen und ihren Beziehungen geprägt sind? Die Erfahrung dieses Widerspruchs – zwischen Allgemeinem und Besonderem, Einmaligem – bildet den Ausgangspunkt der Überlegungen. Die Autorin lässt sich, zunächst unabhängig von vorgefertigten Theorien, beobachtend auf die Komplexität der drei Musikstunden ein und beobachtet sich selbst als Beobachtende. Drei Perspektiven kristallisieren sich dabei als zentral heraus: die unterschiedlichen Lehrerpersönlichkeiten und Unterrichtsstile, die Rolle der Sprache und die Frage nach dem, was guter Musikunterricht eigentlich sei. Am Ende des Beitrags wird nochmals – auf der Meta-Ebene der Theoriebildung – das unauflösliche Wechselspiel thematisiert: zwischen impliziten Theorien, die die Beobachtung leiten, und expliziten Theorien, die das Individuelle und Besondere als Verallgemeinerbares und Wiederholbares beschreiben. / Are theories, which focus on the generality of situations, able to describe and analyze situations, which are characterized through uniqueness of persons and their relations to each other? The experience of this contradiction – between the general and the specific or unique – is the starting point of the reflections. The author observes – at first independent of any theories – the complexity of three music-classes and observes herself as observing person. Three central perspectives are the result: the different personalities of teachers and styles of teaching, the importance of verbalization and the crucial question about a „good musical lesson“. Subject of the final part is – on the meta-basis of theory – the indissoluble interplay between implicit theories which determine the observation, and explicit theories, which describe the special and individual as something that can be generalized.

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Thesis work is focused on possibilities of the practical use of the elements of Orff Schulwerk in the Czech general education and is divided into theoretical and practical part. The theoretical part is given to the person Carl Orff, Schulwerku in general, the Czech Schulwerku, music education and Czech Orff of the company. Readers are briefly presented biographical data personality Carl Orff, his teaching and the composer's activity. Furthermore, it is acquainted with the history of the Schulwerku, its principles, basic elements and metodology. Can be in the thesis work a glimpse of the mission of the music education depending on the Orff Schulwerk. At the end of the theoretical part is a mention of the seminars of the Czech Orff of the company. In the practical part the reader is acquainted with the methodology, conduct, results and a summary of the research the use of Orff´s set of instrumentars in primary schools in Czech Budejovice and the surrounding area. Here are the insights and individual suggestions for the use of musical instruments in music education. The last section is devoted to examples of educational games using Orff´s instrumentars.

Der Beitrag klärt die Verwendung und Bedeutung des Begriffs der Praxis in der musikdidaktischen Literatur. Zunächst werden hierfür die Praxisbegriffe der deutschsprachigen Autoren H. J. Kaiser, J. Vogt, Ch. Wallbaum und Ch. Rolle sowie der englischsprachigen Autoren Th. A. Regelski, D. J. Elliott und Ch. Small anhand relevanter Primärliteratur herausgearbeitet und dargestellt. In einem zweiten Schritt werden die Theorien und Modelle jeweils auf ihre didaktischen Implikationen hin untersucht und ihre Eignung für die Umsetzung im Hinblick auf eine reale Lehr-Lern-Situation eingeschätzt. Schließlich werden die Praxisbegriffe der sieben behandelten Autoren in Relation zueinander gebracht, Gemeinsamkeiten und Unterschiede aufgezeigt. Entsprechungen bezüglich des Verständnisses von Praxis werden konstatiert insbesondere zwischen Regelski, Kaiser und Vogt einerseits, sowie zwischen Small, Elliott, Wallbaum und Rolle andererseits. Erstere rekurrieren auf aristotelische Begrifflichkeiten und fokussieren den ethischen Aspekt einer praxis, das „richtige“ Handeln bzw. „gute“ Leben; Letztere stellen die durch musikalische Praxis mögliche (positive) Erfahrung des „flow“ (Elliott), des Ästhetischen (Rolle; Wallbaum) bzw. idealer Beziehungen (Small) in den Mittelpunkt ihrer Betrachtungen. / This work discusses the use and meaning of “praxis” (practice) as a technical term in music education literature. Relevant texts of the German-speaking authors H. J. Kaiser, J. Vogt, Ch. Wallbaum, and Ch. Rolle as well as of the English-speaking authors Th. A. Regelski, D. J. Elliott, and Ch. Small are analyzed and compared in terms of the authors’ understanding of “praxis”. Similarities are identified among (1) the work of Regelski, Kaiser, and Vogt and among (2) the work of Small, Elliott, Wallbaum, and Rolle. While the former group of authors refers to Aristotelian concepts and focuses on the ethical aspect of praxis, the latter group reflects the (positive) experience of “flow” (Elliott), the experience of the aesthetic (Rolle, Wallbaum), or the experience of ideal relationships (Small) – each possible through musical practice (or rather “praxis”).

Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht. / The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

Der vorliegende Text verbindet drei Dinge: einen V e r g l e i c h von Bildungsgängen für Musiklehrer an allgemein bildenden Schulen in Europa, den B e r i c h t von einem viel versprechenden „Intensive Programme" mit dem Titel „Schoolmusic in a European Perspective" und den E n t w u r f einer Musiklehrer-Typologie, die den Vergleich verschiedener europäischer Situationen von ‚Schoolmusic‘ erleichtern soll und die über den bloßen Vergleich von Curricula hinaus geht. / The article combines three things: A c o m p a r i s o n of policies of European teacher-education for music at general schools, a r e p o r t about a successful intensive programme for six countries called “Schoolmusic in a European Perspective” and the d r a f t of a typology of music-teachers, which condenses more aspects than a policie of music-teacher-education only. The typologie should help to compare the situation of schoolmusic in different countries of Europe.