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.

The investigator wished to determine the effect of certain school music techniques on children's attitudes.

Orientador: João Cardoso Palma Filho / Banca: Káthya Maria Ayres de Godoy / Banca: Maria Leila Alves / Resumo: A música é uma das formas de linguagem presentes na vida humana, desde a préhistória. Vários são os estudos a respeito da origem dos efeitos sonoros sobre o ser humano, sabe-se que o homem fazia música em seus rituais de caça e adoração. Objetivo: pesquisar como o ensino de História da Arte com o recurso da musicalidade com as crianças influencia na aprendizagem significativa. Método: Pesquisa descritiva, qualitativa realizada com as séries iniciais de uma escola da rede privada de ensino da cidade de São Paulo, em 2008. Resultados: Pelo estudo realizado, percebeu-se a importância da atuação do professor que busca provocar nos alunos um entendimento sobre a área de conhecimento, baseada nas experiências vividas em salas de aula; e esta atuação distingue-o do professor tradicional; e os alunos não precisam ter um conhecimento prévio da obra de Arte, mas, é importante que a vivência seja provocada para que, além da Experiência, tenham uma vivência sonora e visual, para que haja a aprendizagem em Arte / Abstract: Music is one of the language forms that have been present in human life since Prehistoric times. There are several studies about the origin of the sound effects on human beings; it is known that man created music in their hunting rituals and worship. Objective: To investigate how musical resources added to Art History teaching influences students' meaningful learning. Method: A descriptive, qualitative study was conducted with the initial series of a private school in the city of Sao Paulo in 2008. Results: Through this research, based on classroom experiences, it was observed that the performance of the teacher who motivates students towards significant learning is of great importance; and that this practice differs from traditional practices; that students do not necessarily have to possess a prior knowledge of a work of Art, but it is important to activate a connection of it to sounds and visuals stimuli, so that besides the Experience, they can have an auditory and visual involvement, and thus, learn Art / Mestre

M. Tech. Architecture (Professional) / South Africa has some way to go before it catches up to developed countries in terms of musical education and production. Since musical skills are expensive to develop, and not currently taught at school level, a lack of funding results in many impoverished individuals missing out on the opportunity to develop musical skills that could ultimately bring about multiple career opportunities. This dissertation involves the design of a music centre on the periphery of Sunnyside, for surrounding school pupils and local youths. The centre will function as a musical education facility and public meeting space, in an urban district. The development of this new facility would hopefully act as a catalyst for the rejuvenation of the pedestrian walkway next to the Walker Spruit; by integrating and redesigning the green space next to the proposed site

Thesis (MTech. degree in Architecture (Professional Design)--Tshwane University of Technology, 2009. / The aim of this thesis is to design a music school [in Tshwane, South Africa] that will contribute to the development of our rich and vibrant music culture, which will furthermore assist in the promotion of the often unrecognized and struggling music industry as a major player in the South African economy. The building will contain practice and recording studios, together with classrooms for teaching music as well as performing spaces and administration facilities. The design attempts to introduce the building as a fully integrated element in the urban fabric and social infrastructure of the city so as to promote music and the performing arts to the broader public and help to redefine this precinct as the cultural heart of the inner city.

Acompanha: Manual didático para aplicação do monocórdio como objeto lúdico perelmaniano / Esta pesquisa aborda a possibilidade de se estabelecer uma prática interdisciplinar entre as disciplinas de Física e Música, no ensino médio, integrado ao técnico, no Instituto Federal do Paraná, Campus Telêmaco Borba. O estudo teve como objetivo estabelecer uma prática interdisciplinar entre as disciplinas de Física e Música que tenha como foco a utilização do monocórdio como Objeto Lúdico Perelmaniano e, ainda, buscou compreender a concepção do conceito de som por parte dos educandos, além de criar um blog para difusão da proposta interdisciplinar, que relaciona o Objeto Lúdico Perelmaniano com a construção ativa de conhecimento por parte dos estudantes. A abordagem metodológica é qualitativa, através da Fenomenologia, com base em Husserl (1997). Cinco estudantes expõem suas concepções do que é o som, e a partir de seus discursos procede-se à redução fenomenológica. Seus discursos são compreendidos em seus horizontes e perspectivas através da reflexão. Após a compreensão das unidades, traçamos um perfil ideográfico, do qual nascem as convergências, as quais, após serem agrupadas, compõem a compreensão nomotética geral dos discursos. Assim, é estruturado o fenômeno do que é o som. A análise fenomenológica descortinou a importância de abordagens significativas, ativas e lúdicas para o ensino, a fim de impulsionar o aprendizado e auxiliar na construção e reconstrução dos conhecimentos que envolvem a relação intrínseca entre Arte e Ciência. / This research addresses the possibility of establishing an interdisciplinary practice between disciplines of Physics and Music, in high school integrated to technical, on Federal Institute of Paraná, Telemaco Borba site. The study has aimed to establish an interdisciplinary practice between the disciplines of physics and music, that focuses on the use of monochord as Perelman’s Playful Object. Also, seek to understand design of the sound concept by the students, creating a blog to spread interdisciplinary proposal, which relates the Perelman’s Playful Object with active construction of knowledge by students. The methodological approach is qualitative, by phenomenology, based on Husserl (1997). Five students display their conceptions of what is sound, and from their speeches proceeds to phenomenological reduction. These speeches were understandable in their horizons and perspectives through reflection. After understanding of units, we draw an ideographic profile, from whom born the convergences, which, after being grouped together set up the overall nomothetic understanding of speeches. Therefore, we have structured phenomenon of what is sound. The phenomenological analysis unveiled the importance of meaningful approaches, active and playful for teaching. In order to boost learning, help in the construction and reconstruction of knowledge that involving the intrinsic relationship between Art and Science.

xv, 166 p. : col. ill. / The purpose of this study was to investigate the frequency and the time that middle and high school orchestra directors engaged in seven specific teaching behaviors in a rehearsal setting. Of particular interest was the amount of time orchestra directors engaged in conceptual teaching behaviors operationally defined as verbal behaviors of orchestra directors in which they attempt to make students aware of, have an understanding of, and/or be able to transfer any musical concept. Participants ( N = 12) were full-time middle and high school orchestra directors teaching in Washington, Oregon, or California. Each participant submitted a video recording of two regular orchestra rehearsals. Video recordings of participants were divided into 20-minute segments and randomly selected for observation of seven specific and operationally defined teaching behaviors: (a) nonmusical behavior, (b) nonverbal instruction (direction), (c) verbal instruction (direction), (d) noninteractive listening, (e) nonverbal feedback, (f) verbal feedback, and (g) conceptual teaching. These seven teaching behaviors were analyzed using the Simple Computer Recording Interface for Behavioral Evaluation (SCRIBE) of Duke and Stammen (2007). The data were reported in the form of the frequency with which each behavior occurred, the average time for each behavior expressed in minutes and seconds, and the percentage of time used on each behavior. Findings on conceptual teaching were reported. The results indicated that, on average, orchestra directors spent slightly more than 5% of the observed rehearsal time on conceptual teaching. Most of the instructional time was used on nonverbal instruction (28.15%) and verbal instruction (27.76%). Orchestra directors observed in this study used the least amount of time (2.42%) on nonverbal feedback. The most concerning finding of the study was the time orchestra directors used on nonmusical behaviors (14.70%), and the most interesting finding of the study was that middle school orchestra directors used twice as much time (7.40%) as high school orchestra directors (3.21%) on conceptual teaching. The findings of this study provided suggestions for future research and implications for music educators. / Committee in charge: Dr. Frank Diaz, Chair; Dr. Phyllis Paul, Member; Dr. Eric Wiltshire, Member; Dr. Leslie Straka, Member; Dr. Julie Hessler, Outside Member