This phenomenological study delves into the nuanced lived experiences of Korean American college music majors in U.S. music education. Seven participants were recruited based on the specific criteria: (a) Korean immigrants, (b) experience in band classes or orchestra classes during their K-12 years in the U.S., and (c) majoring in music or music education. Based on the collected interview data, a structured analysis process was conducted. As a result, 5 units of meaning were identified, which were able to synthesize the experiences of Korean American immigrant music majors: (a) Culturally inclusive (or not) music experiences, (b) feeling included (or not), (c) supportive (or not) music teachers, (d) intricacies of Korean cultural music, and (e) cultural identity. After the analysis process, hermeneutic circle was conducted to refine the synthesized 5 overarching meaning units. Refined clustered units of meaning from the Hermeneutic circle were: (a) Experience of Korean cultural inclusion mostly outside of regular music classes at school, (b) Korean American college music majors felt included when musically engaged, (c) Korean American college music majors emphasized the important role of music teachers, (d) Korean American college music majors think that culturally responsive music education is not simply implementing cultural music in repertoire, and (e) Korean American college music majors argued that cultural identity is complexe and can be described differently, depending on the situation. Through the identification and exploration of 5 overarching units of meanings, it offers a profound understanding of how Korean Americans navigate cultural inclusion, engagement in music, the role of music teachers, the complexities of culturally responsive education, and the multifaceted nature of cultural identity. This exploration contributes to a richer comprehension of the diverse facets of Korean Americans' music education experiences and extends its impact by providing a broader perspective on the encounters of Asian immigrants in the U.S. The indirect comparison with the researcher's native Korean K-12 music education background adds a unique layer, unveiling insights into how Asian Americans actively navigate limitations within the U.S. music education system. The implications drawn from this study highlight the proactive engagement of Korean Americans in U.S. music education. Musicians, policymakers, and practitioner-researchers are encouraged to consider these insights in their respective roles. Musicians, regardless of cultural background, are urged to persist in creative endeavors, contributing to the creation of diverse arrangements and addressing the absence of representation. Policymakers should address the demographic imbalance among music teachers, actively working towards creating a more diverse and inclusive landscape within the field. Practitioner-researchers play a crucial role in researching and addressing the needs of culturally marginalized students in music education, focusing on fostering inclusivity.

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The study of music has long been seen as élitist in South African education, a ‘talent’ subject rather than an academic one. The country’s political history has played a significant role in this perception. Under the apartheid government, education in the arts was considered appropriate only for gifted, mostly white, students and a grossly inequitable distribution of resources placed the study of music beyond the reach of most students. The ANC government has declared educational reform a priority, but faces enormous challenges in redressing inequities of the past. This study examines the relevance and academic rigour of music curricula past and present, in the light of political influences; and the challenges that face schools and education departments in sustaining growth and development of music as an academic subject, accessible to all at senior secondary school level. / Music / M. Mus.

Thesis (M.Mus)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Since its inception, educators across the board in South Africa have struggled to implement the new curriculum. Initial problems with terminology and availability of learning materials have been addressed, but still the resistance to Outcomes Based Education (0BE) and Curriculum 2005 (C2005) continues. Some of the reasons for the resistance point to feelings of disempowerment experienced by generalist and specialist educators who now have to teach the new Learning Area Arts and Culture. This has been attributed to, amongst others, a lack of training, resulting in feelings of inadequacy, inappropriate training for large multicultural classes and the lack of teaching resources. Another reason for the resistance has been described as a resistance to change. Many educators have found it difficult to make the paradigm shift from the previous educational system to OBE and C2005. The aim of the study is to research and explore ways of empowering educators to teach Arts and Culture. The new educational system is geared to redressing the imbalances of the past and giving more expression to the diversity of cultures represented in South African schools. Whereas the previous system was founded on exclusively Eurocentric ideology, principles and values, the new system aims at a more inclusive Afrocentric approach. However, criticisms leveled at C2005 have suggested that it is still basically Western in terms of values, terminology and methodology. This study is therefore aimed at investigating a culturally diverse music/arts curriculum, which draws on the wealth of resources, methods and modes readily accessible in South Africa. A comprehensive literature review guides the study towards a greater understanding of how cultural identities are formed out of a need to belong and how important recognition is to individuals and groups, particularly in terms of their diverse cultural expressions. Music and the arts are understood as being vitally important channels for expression of this diversity. Yet, true to the Afrocentric principle of holism, unity is found in diversity. As much common ground exists between an integrated approach and an Afrocentric approach to music/arts education, these principles are explored to determine whether they can be adapted for use in contemporary South African classrooms. An integrated project mode, which provides a balance between the specific knowledge contexts of the various Learning Areas and collaborative learning aimed at developing the natural links between learning areas to create a vibrant whole, is suggested. The researcher conducted an integrated project at her school with the common theme of "District Six" linking four Learning Areas and their components. Participatory action research using qualitative methods such as questionnaires were used to determine the feasibility of an integrated project mode of learning as a means of empowering educators to teach Arts and Culture. Subsequently recommendations were made regarding implementation. / AFRIKAANSE OPSOMMING: Sedert die instelling van die nuwe kurrikulum in Suid-Afrika het opvoeders gesukkel om dit te implementeer. Die aanvanklike probleme met terminologie en die gebrek aan geskikte bronne is aangespreek, maar die weerstand het nie verminder nie. Van die redes hiervoor verwys na gevoelens van ontmagtiging onder algemene en gespesialiseerde opvoeders wat die nuwe leergebied van Kuns en Kultuur moes aanbied. Die weerstand word toegeskryf aan, onder andere, gevoelens van ontoereikendheid, onvanpaste opleiding om met groot multi-kulturele klasse te werk en 'n gebrek aan onderrigbronne. 'n Ander rede is beskryf as teëstand teen verandering. Baie opvoeders het dit moeilik gevind om die paradigma-skuif te maak vanaf die vorige stelsel na Uitkoms Gebaseerde Onderwys (UG0) en Kurrikulum 2005 (K2005). Die doel van die studie is dus om navorsing te doen en ondersoek in te stel na maniere waarop opvoeders bemagtig kan word om Kuns en Kultuur aan te bied. Die nuwe opvoedingstelsel is gefokus op regstelling van die onewewigtighede van die verlede en op 'n groter uitdrukking van die kulturele diversiteit wat in Suid-Afrikaanse skole verteenwoordig is. Terwyl die vorige stelsel gebaseer was op 'n Eurosentriese ideologie, beginsels en waardes, is die nuwe gefokus op 'n Afrosentriese benadering. Tog is daar kritiek teen Kurrikulum 2005 juis omdat dit nog altyd gebaseer is op Westerse waardes, terminologie en metodes. Die studie gaan dus oor 'n kurrikulum vir musiek en die kunste wat inspirasie put uit die rykdom van Suid-Afrikaanse bronne, metodes en modusse. 'n Omvattende literatuur oorsig voer die studie tot die begrip dat kulturele identiteit gevorm word uit 'n behoefte om te behoort en deel te wees, hoe belangrik erkenning van individue en groepe is, veral om hul diverse kulturele identiteit uit te druk. Eie aan die Afrosenstriese beginsel van holisme kan eenheid binne diversiteit gevind word. Omdat daar baie gemeenskaplikheid bestaan tussen 'n geïntegreerde en 'n Afrosentriese benadering tot musiek/kuns opvoeding, word die beginsels verken om te bepaal of dit aangepas kon word vir gebruik in hedendaagse Suid- Afrikaanse klaskamers. 'n Geïntegreerde projek-modus word voorgestel, wat 'n balans skep tussen die spesifieke kontekste van kennis in verskeie Leerareas en koöperatiewe leer wat daarop gemik is om die natuurlike skakels tussen die verskillende Leerareas te ontwikkel sodat 'n groter geheel geskep word. Die navorser het by haar skool 'n geïntegreerde projek oor Distrik Ses geloods wat vier leergebiede, insluitend hul komponente, ingetrek het. Deelnemende aksie-navorsing soos vraelyste is gebruik om die uitvoerbaarheid van die geïntegreerde projek-metode te bepaal as 'n metode om opvoeders te bemagtig om Kuns en Kultuur by skole aan te bied. Dit sluit af met voorstelle wat gemaak is in verband met die implementering van die nuwe Kurrikulum.

The purpose of the project was to determine if two Junior High band student trainees could accurately evaluate the performance of individual band students from a pre-selected method book. Band students would record specific musical exercises which were evaluated by two student trainees and the band director. The purpose of the project was to check the reliability between the student trainees and the director.

The purpose of this study is to demonstrate the use of certain music activities in meeting some of the needs peculiar to a group of older, retarded Latin-American children. It is an effort to determine whether certain music activities may or may not help to give Latin-American children a more satisfying school experience and better equip them to live in the Anglo-American society of which they have become a part.

Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in the music educator or clientele groups.

This study examined the Kodaly approach to music teaching and investigated four different approaches to teaching first graders in elementary school to sing on pitch, echo (clap) rhythms, audiate tonal patterns, and audiate rhythm patterns. The approaches were the Kodaly approach, the traditional approach, and two eclectic approaches. One emphasized some of the techniques of the Kodaly approach, and the other emphasized some of the techniques of the Orff approach. The sample for this study consisted of one hundred twenty-one students in five classes from four different elementary schools. Two instruments were utilized: the standardized Primary Measures of Music Audiation (PMMA) by Gordon and the Individual Performance Test (IPT) designed by the investigator. The PMMA had two sections of forty examples each and measured the child's ability to audiate tonal and rhythmic patterns. This test was administered to the children as a group and they recorded their answers on an answer sheet. The IPT was tape recorded and administered individually by the investigator and assistants. It had two sections, rhythm and tonal. The children matched pitches and clapped the rhythms they heard. Responses were tape recorded and evaluated. Pretests were given shortly after the school year began and post-test were given eight weeks later. A completely randomized analysis of covariance was used to analyze the data. It was hypothesized that there would be no difference in the achievement of the children in the different classes to perform the selected skills. Findings revealed that the approach to music teaching does make a difference in the musical achievement of first-graders and their abilities to echo rhythms, match pitches, and to audiate rhythm patterns. The approach to music teaching does not make a difference in the musical achievement of the subjects and their abilities to audiate tonal patterns.

The first of any formal education in music that can be found from the records or from the memories of those who were present at the time was the singing school. One ranch in the Blair community has files in which records were found of all import ant events of the school and community life. These files relate the coming of the singing school regularly every summer. Shaped notes were taught front hymn books. At the end of the course, a certificate was given to those who graduated. The teacher of the school then moved on to the next engagement.

It shall be the purpose of the writer to prepare program material appropriate for school use which will interest, instruct and contribute toward mutual understanding of both the Latin-American and Anglo-American child. This program material has been incorporated into ten musical plays, the themes, dances and songs of which have been gleaned from a great amount of reading material, stories related by Mexican people, legends told by pioneer Anglo residents of the Lower Rio Grande Valley, and ideas that have been presented by students. It is the purpose of the writer to organize this material into plays which may be of service to any teacher who intends to present a program, in the intermediate grades, dealing with some phase of Latin and Anglo-American relations.