The purpose of this study was to examine pedagogical practices of an Indian music professor, or guru, who teaches an Indian music ensemble in a United States institution of higher learning. The role of the world music professor has been refined and redefined over the last decade. The guru-shishya paramparā system of teaching has reached a crossroad; new conditions challenge this approach. The focus of this study was to investigate, through the lens of the guru, tensions that exist between Indian pedagogy and Western pedagogy. The research design was a single-case ethnographic study that utilized participant observation in an Indian music ensemble class. I expanded Schippers’s (2009) Twelve Continuum Transmission Framework by adding aesthetics to the continuum of the framework. I used this framework as a tool to examine Indian music transmission, through a distinct pedagogical viewpoint of a guru leading a non-Western music ensemble. In this study I noted factors that influence world music transmission in Indian music education at the School of Jazz and Contemporary Music at The New School. Information regarding attitudes and the reasons for certain pedagogical practices in Indian music education can provide insight to ensemble instructors and to administrators interested in building Indian music programs. This research has implications outside of Indian music education and for music department directors interested in expanding music programs.

This thesis examines the effects of formal musical experience in infancy on musical, social and communicative development. Parents and care-givers have a wide-range of choices of activities and products for an enriched musical experience for their infants, yet prior to the studies in this thesis little was known of the effects of formal musical experience on development. In chapter 1, I outline the introduction to my thesis. In Chapter 2, I examine the effects of Kindermusik training on rhythmic enculturation. Infants who participated in these classes demonstrated a heightened interest in rhythmic patterns but also showed a stronger preference for duple metrical patterns, indicating that musical classes for infants can accelerate the development of culture-specific metrical perception. In Chapter 3, I present results showing that infants who participate in active musical classes showed superior development of prelinguistic communicative gestures and social behaviour as compared to infants assigned to a passive musical experience. In Chapter 4 I examine the development of joint attention in infants assigned to active and passive musical experiences. Although no significant results were found, I suggest that either more sensitive measures or a longer period of study might well show differences between the groups. Together these findings indicate that infants are able to engage in meaningful musical training when the developmentally appropriate pedagogical approach is used, and that formal musical experience in infancy can enhance culture-specific musical acquisition as well as impact social and communication development. / Thesis / Doctor of Philosophy (PhD)

Studien behandlar musiklärares förhållningssätt till gangsterrap i skolan där deltagarnas uttalanden och reflektioner har analyserats med fältteori. Studien utforskar dessutom informellt lärande och pedagogiska aspekter utifrån vetenskapliga teoretiska discipliner som interpellation. Syftet är att beskriva hur musiklärare förhåller sig till läroplanens övergripande mål och riktlinjer när musiklärare tillämpar musikskapande och utövning av gangsterrap specifikt men även andra musikgenrer med texter som kan ses strida mot värdegrunden i Lgr22. Studien är kvalitativ där fältstudierna bestod av fyra halvstrukturerade intervjuer. Studiens Resultatet visar bland annat lärares positioner och kulturella kapital spelar roll för hur gangsterrap förstås och används av elever och musiklärare.

Studiens syfte är att undersöka klassiska sångpedagogers upplevelser av distansundervisning i enskilda lektioner i klassisk sång. Fyra pedagoger som är verksamma vid gymnasieskolor i Stockholm har intervjuats. Den sociokulturella teorin har använts i studien som teoretiskt perspektiv. Studiens resultat visar att undervisningen på distans inte kan bedrivas på samma sätt som traditionell undervisning i klassrum. Musikaliskt samspel mellan pedagog och elev är svårt med de verktyg som används i dag vid distansundervisning. Den kontinuitet som undervisningen på distans har möjliggjort under Covid-19-pandemin har varit en positiv aspekt då pedagogerna utforskat andra sätt att arbeta med eleverna under distansundervisningen. Andra studier visar också på svårigheter med samspel mellan pedagog och elev och belyser vikten av fortsatt forskning inom området. Det behövs mer forskning inom området för att utveckla de arbetssätt och verktyg som används vid musikundervisning på distans. / The purpose of this study is to explore classical singing teacher’s experiences of remote teaching in one-to-one lessons in classical singing. Four singing teachers who are active pedagogues at high schools in Stockholm have been interviewed. The sociocultural theory has been applied to this study as the theoretic perspective. The result of the study shows that teaching classical singing in remote cannot be taught as it’s taught on location. This is due to the difficulty for musical interaction during distance teaching when using today’s technology. The continuity which remote teaching has allowed during the Covid-19 pandemic is seen as a positive aspect due to teachers exploring other ways of teaching their students remotely. More research on this subject is needed to develop the work procedure and the tools that are used in remote teaching. Other studies also highlight the difficulties of musical interaction between teachers and students during remote teaching and stress the need of further research within the field.

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SUMMARY: The diploma thesis deals with the life and work of an important pedagogue and music theoretician prof. PhDr. Eva Jenčková, CSc. It analyzes her present pedagogic, scientific and publishing activities, her efforts in the field of integrative music education and her contribution to education of music teachers by publishing of methodological materials and organizing various courses and seminars. The thesis is include an interview with Eva Jenčková, a photo attachment and research of her influence on musical practice.

Pressures from education reforms have contributed to the need for music educators to embrace new and diverse instructional strategies to enhance the learning environment. Music teachers need to understand the pedagogy of teaching and learning and how these affect their praxis. The purpose of this multiple case evaluative study was to investigate the instructional methods used in 10 middle school general music programs to assist students in obtaining the National Standards for Music Education. Bloom's revised taxonomy was the theoretical framework used to evaluate the teaching praxis of the participating teachers. The research questions for the study addressed the effectiveness of the instructional strategies in the music classroom and how they align with the National Standards Music Education and Bloom's Revised Taxonomy. Data were collected from an open ended survey, individual interviews, and unobtrusive documents from 10 general music teachers from suburban, rural, and urban school districts. A line-by-line analysis was followed by a coding matrix to categorize collected data into themes and patterns. The results indicated that standards-based metacognitive instructional strategies can assist music teachers in their classrooms and unite cognitive, affective, and kinesthetic experiences applicable beyond the music classroom. It is recommended that music teachers use alternative teaching techniques to promote and connect critical thinking skills through musical learning experiences. Implications for positive social change include training music educators to create learning environments that support and motivate students to learn and achieve academic success.

Many collegiate saxophone performance degree programs are overwhelmingly classical, adopting from other performance programs in the Western music tradition. However, there is a growing number of saxophone compositions that are “crossover” in nature. Crossover is a term used to describe the fusion of popular music styles in a classical setting. There is also evidence that collegiate music education as a whole is moving towards a more diverse curriculum, which emphasizes ethnomusicology. Due to this trend in composition and education, it is becoming increasingly important that saxophonists have the training of both classical and jazz disciplines. The problem is that while many colleges have saxophone majors, there is a strong divide between classical and jazz education. This leaves students in a Bachelor of Music in Saxophone Performance degree track without the ability to accurately perform crossover music or have the opportunity to perform jazz and other genres of music. The purpose of this study is to develop a crossover degree in saxophone performance by highlighting aspects of crossover saxophone repertoire and reviewing current university degree catalogs. The research in this study is meant to diagnose omissions in performance degree programs as far as crossover development and to create a new degree track for saxophonists in an effort to promote diverse performance ability.

The purpose of this study is to investigate the effect of self-instruction on achievement in elementary school music at the fourth grade level. In order to study this effect, the investigator will seek answers to the following questions: Which methods of self-instruction are most applicable to children at the fourth grade level? What concepts are basic to the understanding of music? What studies have been concluded to define the range of conceptual developments among fourth graders? What materials and activities are most effective in achieving the desired results based on the above considerations? Is I.Q. a significant factor in musical achievement in this particular investigation? Can musical achievement be directly affected by the addition of self-instruction?

My project is first and foremost about developing a pedagogical method for teaching Middle Eastern folk and classical music on the violin. As a secondary goal, I want to know if my own playing could benefit from applying such a method and become more skilled in expressing myself artistically on my instrument.  In order to achieve this, first, I have transcribed and notated music from different music styles of the Middle East, including Kurdish, Persian, Arabic and Turkish music and described the specific traits of these different styles. Then, I have created a method of how to represent different stylistically important elements in the music, e.g. the most popular ornaments used in this music, as well as finding new ways of representing them by new symbols. Finally, I have devised exercises for learning and perfecting these style elements, such as ornaments.           There is no well-established method for teaching the Middle Eastern styles of violin playing (Eilenberg, 1993). This fact makes it challenging for students to learn and pass on the tradition. Unlike Western Classical music, Middle Eastern music involves using different modal systems, including scales with quarter tones. The modes and corresponding scales are called Maqam and there are a great many of them. (Todorov, 2018)A violinist playing this style of music, usually uses intricate ornamentations in playing on these scales when making an extemporization or improvisation on the maqam, called Taksim. Not having a method for this complicated music style, makes a new learner to rely solely on learning by ear and learn through imitation, which is today often performed by listening to recorded sources. In my personal experience, it took many years of careful listening and imitating to learn how to play Middle Eastern music on the violin.          As an accomplished violinist and teacher, now I want to establish and develop my method so students can take advantage of it and learn this music more thoroughly, faster and become more accomplished in expressing themselves within the style. My hope is that this method will help preserve the Middle Eastern style of violin playing and make it easier to pass on to the next generations. Furthermore, the method will also help an interested foreigner to understand and potentially learn Middle Eastern music on the violin. Thus, my research interest is to investigate in what way I can describe, notate the pertinent stylistic elements of the music for to develop a ‘Method for oriental violin playing’, including notations, exercises, and teaching process, that can make a musician understand the Middle Eastern music styles and learn to play them. The ultimate aim is to pass the tradition easier and faster, giving aspiring violinists possibility to develop their violin playing within this field. Hopefully, from notating and transcribing these styles the tradition can be preserved. A specific question is also to investigate the usefulness of the method for groups of violins.   Secondary research interest is to investigate how this work might influence the development of my own playing, in terms of technique and expressing.    Summary of research questions:    -              How can I describe and notate the Middle Eastern violin styles with details? -              What are the most important stylistic elements and techniques?  -              How can I teach this music? -              How can I pass on the tradition faster and easier with the help of a method in a way that develops the field of Middle Eastern violin styles? -              Can I develop my own playing and artistic skills by applying exercises for stylistic features? / <p>Samai Hijaz                                       Göksel Baktagir (Turkish) Bogazici                                            Baki Kemanci (Turkish)</p><p>Alan Kamil – Violin </p><p>Feras Sharstan – Kanun</p><p>Saman Taha – Piano</p><p>Mårten Hillbom – Raqq and Cajon </p><p> </p><p>Swedish folk music meets Kurdish folk music!    (Kurdish and Swedish)</p><p>Alan Kamil – Violin </p><p>Tommy Lundberg – Violin </p><p> </p><p>Pirozbe                                          Nasir Razazi’s Song (Kurdish)</p><p>              Violins:</p><p>Alan Kamil</p><p>Tommy Lundberg </p><p>Anna Ekborg</p><p>Sandra Arvman</p><p>Nichelle Johansson</p><p> </p><p>Saman Taha – Piano </p><p>Mårten Hillbom – Cajon</p><p> </p><p>Swan Lake                                        Mojtaba Mirzadeh (Persian) Soran Badinan                                  Dilshad Said (Kurdish)</p><p>Alan Kamil – Violin </p><p>Saman Taha – Piano </p><p> </p><p>Nassam Aleyna el Hawa                 Rahbani Brothers – Fairouz (Arabic)</p><p>Alan Kamil – Violin </p><p>Feras Sharstan – Kanun</p><p>Saman Taha – Piano</p><p>Mårten Hillbom – Darbuka </p><p> </p><p>Eshveh                                              Bijan Mortazavi (Persian)</p><p>Alan Kamil – Violin </p><p>Saman Taha – Piano </p>