Thesis (Mus.Bach.) -- University of Adelaide, Dept. of Music, 1970.

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Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: As an instrument the recorder enjoys an active following in South African schools, in tertiary institutions and in private tuition. In spite of this healthy interest, few teachers and students are afforded significant exposure to essentially good recorder playing, nor do they receive specialised tuition in the various aspects of this field of study. The development - and popularity - of the recorder reached a high point during the Baroque era. During this period the greatest repertoire for the instrument was composed. It is to this music that the player is mostly exposed. The French Baroque falls within the broader Baroque period and has provided a substantial repertoire that is freely available and regularly performed, either as part of an examination programme or as a self-study piece at eisteddfodau. It is clear, however, that among South African recorder teachers and students, the background knowledge required for a historically informed performance of pieces from this period is generally insufficient. The reason for this could be a lack of exposure to this particular style: a problem that cannot be overcome without a concerted effort on the part of the teachers and students to redress it. The purpose of this study is to stimulate an enthusiasm for French Baroque music among teachers and students, and to provide them with a store of knowledge they can then apply in a meaningful way in practice. It is far easier for the musician of the 21st century to look back objectively at the developments of the Baroque period and to appreciate the prolific contributions of the musicians of the time. However, it is important to remember that the numerous examples, expositions and definitions left to us by the composers of the Baroque should be interpreted as guidelines, rather than rigid rules. It is of crucial importance that these guidelines - ornamentation and its conventions, articulation, variable rhythmic groupings, as well as a background knowledge of the composers and the repertoire - be subjected to an in-depth study. Subsequently, by cultivating an instinct for good taste and judgment, justice will be done to the music of the French Baroque. / AFRIKAANSE OPSOMMING: Blokfluit, as instrument, geniet 'n aktiewe belangstelling in Suid-Afrikaanse skole, tersiêre instansies asook in privaatonderrig. Ten spyte van hierdie belangstelling, word min onderwysers en studente aan goeie blokfluitspel en gespesialiseerde opleiding in die verskillende fasette rakende die vakgebied blootgestel. Die blokfluit het tydens die Baroktydperk sy grootste ontwikkeling en gewildheid beleef. Dit is tydens hierdie tydperk wat die meeste repertorium vir die instrument gekomponeer is; derhalwe is dit die musiek waaraan die blokfluitspeler die meeste blootgestel word. Die Franse Baroktydperk maak deel uit van hierdie tydgleuf en heelwat repertorium is geredelik beskikbaar en word deur spelers aangebied, hetsy as deel van 'n eksamenprogram of as 'n keuse vir byvoorbeeld 'n eisteddfod. Dit blyk egter dat 'n gebrek aan agtergrondkennis om werke uit hierdie tydperk op 'n histories ingeligte wyse uit te voer 'n probleem by Suid-Afrikaanse blokfluitonderwysers en - spelers te wees. Die rede hiervoor kan 'n gebrek aan blootstelling wees. Die leemte kan nie sonder meer oorbrug word as daar nie 'n doelbewuste poging deur die onderwysers en studente daartoe aangewend word nie. Hierdie studie se doel is om onderwysers en studente se entoesiasme aangaande Franse Barokmusiek aan te wakker en kennis daaroor te laat inwin ten einde dit in die praktyk sinvol te kan toepas. Die musikant van die een-en-twintigste eeu kan makliker objektief terugkyk na die ontwikkelinge wat tydens die Baroktydperk plaasgevind het as die musikant wat in die tyd geleef het. Die voorbeelde, uiteensettings en omskrywinge wat komponiste van daardie tyd nagelaat het, moet verkieslik as riglyne geïnterpreteer word, en nie as onbuigbare reëls nie. Dit is wel van uiterste belang dat hierdie riglyne - die versieringskuns, ornamentele gebruike, artikulasie, ongelykmatige ritmiese groeperings asook die agtergrondkennis rakende komponiste en repertorium - deeglik bestudeer word. Met die nodige kennis en blootstelling sal goeie oordeel by die uitvoer van die Franse 8arokmusiek sy beslag kry.

It is the hope and belief of the writer that this thesis will make available in concise form much information which the ambitious director of a high school a cappella choir would be unable to obtain without expending considerable time and energy.

This investigation aims to explore the attitudes of adolescents towards learning music and to gauge the extent of their involvement in the activities of playing, singing, creating and listening to music. It also seeks to determine the views of adolescents on attributions for success in various activities, including music. Beliefs about selfconcept, or self-identity, and their relationships to academic achievement and musical involvement are explored. The review of literature spans various facets of self-perception, including selfconcept, self-esteem, self-efficacy, self-regulation, and self-concept development, and considers the role of music in self-concept development. The impact of self-perceptions on motivation, which is central to learning, achievement and engagement, is also considered. The basic principles of learning, and their application to learning in music, provide the foundation for specific aspects of music learning, namely, music literacy, learning to play a musical instrument, singing, music technology and informal learning. The relationship between music learning and academic achievement is reviewed. The particular importance of music in adolescence, and adolescent attitudes to school music, provide a backdrop to the analysis of the wide-ranging factors involved in self-concept development, motivation and learning principles, thus leading to an overview of the various approaches which can facilitate the engagement of adolescents in learning in general, and in high school music in particular. A researcher-designed Survey of Musical Experiences and Self-concept was administered to Year 9 and 10 students in three high schools in metropolitan Adelaide, South Australia. Data from the survey, along with academic results, were collected from the 282 participants in the study. The data provide background information about each participant, along with their perceptions about perceived areas of strength and reasons for success in these areas. Information about involvement in musical activities was collated for all students, with approximately half of the students not studying music at school. Measures for self-esteem (Rosenberg, 1965) and perceived competence (Chan, 1993) were included in the survey. Using a mixture of qualitative and quantitative methods, the data were analysed in relation to the extent of involvement in music, attitudes to learning music, students’ attributions for success, and strengths of the relationships between musical involvement, self-concept and academic achievement. Conclusions can be drawn based on the survey data and the literature review, and these emphasise the importance of the social nature of learning and of providing opportunities for creative work in classroom activities. The most outstanding finding to be highlighted from the study was the aspect of enjoyment as a reason for achievement which appears to feature prominently in students’ responses, yet it is less widely recognised in the literature. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1321529 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Access to abstract permanently restricted to Ball State community only / Titles of accompanying sound discs. Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music. / Access to thesis permanently restricted to Ball State community only / Titles of accompanying sound discs: Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music. / School of Music

Orientador: Leticia Bicalho Canedo / Dissertação (mestrado) - Universidade Estadudal de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-11T01:39:34Z (GMT). No. of bitstreams: 1 Santos_AnaRoseliPaesdos_M.pdf: 3872998 bytes, checksum: 69af0904077dc310d47caa9ccb529a72 (MD5) Previous issue date: 2008 / Resumo: O presente trabalho insere-se na temática da formação e prática do professor e tem como objeto o Professor de Música, especificamente o de instrumentos de cordas friccionadas. Diante das freqüentes transformações por que passam as sociedades, os ambientes de formação exigem também suas modificações no plano das diretrizes. Diante de tais fatos, nosso problema de pesquisa se estabeleceu por meio das seguintes indagações: ¿Como alguns indivíduos educados para ser músico assumem o ofício de professor¿, ¿Com constroem o conhecimento que colocam em prática?¿ e ¿Como se dá essa prática pedagógica?¿. Este estudo, portanto, foi guiado pelas hipóteses de que as formas de socialização são fatores importantes no desempenho futuro do professor e conseqüentemente na construção da sua prática; que o conjunto de valores e crenças acumuladas durante a trajetória de formação, dentre outros elementos, contribui para a perfomance servindo de base para seu desempenho. Assim, neste estudo procura-se demonstrar que a construção da prática pedagógica antecede a prática docente, pois tem suas raízes nas relações arcaicas, com ex-professores que marcaram o aprendizado quer de forma positiva ou não. Para amparar tal hipótese a pesquisa vem alicerçada pela teoria de ¿campo¿ e pela noção do habitus (BOURDIEU 1997). A metodologia privilegia o modelo exploratório com visão de etnografia por se tratar de estudo feito com pessoas. É de natureza qualitativa por explorar comportamentos e práticas sociais. Por tais características, foi possível constatar neste estudo que disposições incorporadas das diversas vivências ¿ escolares; familiares; de convívio social ¿ foram determinantes para a construção do conhecimento que o professor de cordas coloca em sala de aula / Abstract: The present work concerns the theme of teacher training and has the music teacher as its main object, specifically the string. Confronted with the frequent transformations by which societies go through, the training milieus also call for modifications as far as directives are concerned. Based on such facts, our research problem was established by means of the following inquiries: ¿How do some individuals educated to be musicians assume the role of a teacher?¿, ¿How do they build the knowledge they put into practice?¿ and ¿How does their pedagogical practice take place?¿. This study has, therefore, been oriented by the hypothesis that forms of socialization are important factors in the future accomplishments of the teacher and consequently in the construction of his or her practice; the set of values and beliefs accumulated during his or her training, among other elements, contribute to the accomplishment and give the basis for his or her performances. Therefore, the aim of this study was to demonstrate that the pedagogical practice precedes the teaching practice, for it has its roots in archaic relationships with former teachers who have positively or not marked his or her learning. To support such hypothesis, the research is backed by the ¿field¿ theory and by the notion of habitus (BOURDIEU 1997). The methodology favors the exploratory model with an ethnographic view, for it is a study carried out with people. It is qualitative in nature for it explores behaviors and social practices. For this reason, it was possible to evidence that these incorporated dispositions of the diverse life experiences ¿ school; family; social conviviality ¿ were determinant for the construction of the knowledge that the string teacher places in the classroom / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Why teach music? To answer this question one has to be able to see the full value of musical education. One has to recognize its effect on the unfolding of character and personality on the one hand and, on the other, its value for the development and sharpening of the intellect. In ancient Greece, the cradle of Western culture, the significance of music for man, the people, and the state was frequently emphasized. The Greeks regarded music almost as a magic force, the inherent harmony of which was capable of transforming things and creating order by reconciling contrarieties. Similarly they believed that the power of music could restore the harmony in man's soul. Intro., p.1.

This quantitative study examined the correlation between how college level music students rated their teachers on the Fowler/O'Gorman Mentor Functions Questionnaire and how they perceived two aspects of their private music lessons: 1) to what extent they perceived their relationship with their teachers as positive, and 2) to what extent they perceived their teachers as good. The respondents for this study were 295 undergraduate and graduate music majors studying at 5 private universities or music schools. Positive correlations were found between the scores on the Mentor Functions Questionnaire (MFQ) and good teachers and positive lesson experiences. No correlation was found between the existence of gender congruity or the lack of gender congruity and the mean score on the MFQ. Respondents reported differences among their teachers' behaviors (p < .05): Role Modeling and Coaching behavior were perceived at significantly higher levels than the other six mentoring behaviors, whereas Friendship and Advocacy behavior was found at significantly lower levels. The behaviors of Personal and Emotional Guidance, Career Development Facilitation, Strategies and Systems Advice, and Learning Facilitation were found at levels closer to the mean. When role modeling and coaching behavior are present, students perceive teachers as good and lessons as positive. It is not necessary to be friends with a student in order to provide a positive lesson experience. Fowler and O'Gorman's mentoring behaviors have implications for improving the mentoring of collegiate music students.

This dissertation explores the perceived readiness of potential violin majors (PVMs) in the United States for university-level violin study. The purpose of this study was to explore violin professors’ expectations of PVMs in the United States, their perceptions of how these expectations are being met, and how PVMs can be prepared to meet these expectations. A lack of research into how PVMs in the United States are being prepared for the rigors of university-level violin study warranted investigation to define violin professors’ expectations and their perceptions of the preparedness of PVMs. A descriptive instrumental exploratory study was conducted using qualitative and descriptive statistical data with 121 participants (n = 121). The participants were tenure-track and tenured violin professors in the United States who have taught for at least three years at universities accredited by the National Association of Schools of Music (NASM) and whose teaching loads consist of a minimum of 75% applied violin lessons. Participants were asked to define their ideal expectations of PVMs, their perceptions of how these expectations have been met, and advice they have for the adults who help prepare PVMs. Data were collected online through a Qualtrics survey and Zoom video interviews. The findings indicated that violin professors generally agreed upon their expectations of PVMs, which include having a solid technical foundation, performing repertoire that is aligned with their technical development, and being open-minded. Violin professors perceived that less than 50% of PVMs have a solid technical foundation and less than 50% perform developmentally appropriate repertoire, though most PVMs were perceived to demonstrate an openness to learning. Most violin professors accept PVMs into their studios whom they perceive to be unready for university-level study, usually due to administrative pressure. To meet violin professors’ expectations, they suggest that PVMs work with private violin teachers outside of the K-12 music classroom. Private violin teachers should hold PVMs to a high performing standard, be familiar with violin professors’ expectations, and have the subject matter knowledge and pedagogical content knowledge necessary to develop a solid technical foundation and assign level-appropriate repertoire. Other influential adults include K-12 music teachers, although learning outcomes for K-12 music classes differ significantly from violin professors’ expectations. Overall, this study demonstrated a clear disconnect between violin professors’ expectations and how PVMs are being prepared to meet them. The data showed that participants made the following assumptions: (a) PVMs take private lessons and are already “apprentices” working with a “master,” (b) audition websites present adequate information for PVMs, and (c) private teachers have the subject matter knowledge to prepare PVMs to meet technical expectations and perform with high standards. There appears to be an overall lack of communication and collaboration not just from violin professors, but also from private teachers and K-12 classroom music teachers. Recommendations for practice and implementation are offered to the three identified populations that interact with PVMs: violin professors, private teachers, and K-12 classroom music teachers.