Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

The problem of this study was an analysis of the relationships between performance on certain admissions measures and academic achievement of students in master's degree programs in music education. The purposes of the study were (1) to determine the strength of relationships between scores on each measure included in an admission battery and the academic achievement of master's degree music education students; (2) to determine the strength of the relationship between the final grades in Admission Seminar and the academic achievement of master's degree music education students; and (3) to determine which combination of admissions measures best predict the academic achievement of master's degree music education students.

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Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.

"It has been the aim of this study, through a survey of a representative number of the public schools in the state of New Mexico, to reveal the extent of instrumental music offered through the mediums of the physical and integrated organizational factors involved, and to show the response to the program through the measurement of student participation." leaf 3

In the domain of music education philosophy there are, at present, two foundational systems that purport to be self-contained philosophies of music education. These are music education as aesthetic education, often referred to as MEAE, espoused by Bennett Reimer, and the praxial philosophy of music education posited by David Elliott. The debate between these two philosophies has been contentious and has had the effect of fracturing the philosophical underpinning of the music profession in an irreconcilable way. It is the purpose of this dissertation to introduce a third voice, that of the Danish philosopher Knut Løgstrup, to serve as a synergy between the philosophies of Reimer and Elliott and lead toward a framework of thinking for music education philosophy. I assert that the philosophies of Reimer and Elliott represent a modern articulation of an ancient dialectic between Platonic and Aristotelian ideals. Thus, the Reimer philosophy has its foundation in Platonic thought and Elliott has embraced an Aristotelian philosophical perspective. Løgstrup's position provides a third fundamental viewpoint that includes both Platonic and Aristotelian thinking and can therefore provide a synergy for these two music education philosophies. He refers to his philosophy as an ontological ethics. As a methodological approach, I utilize a metaphilosophical analysis in which I examine the Platonic tendencies of Reimer and the Aristotelian foundation of Elliott by examining both the content and the methodology of their prospective philosophies. I then make an application of Løgstrup's philosophical system, which is an ethical system, to music education philosophy and bring the most important aspects of Reimer's and Elliott's philosophies into a synergy using Løgstrup's ideas.

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.

Strategies for Developing Individual Education Programs for Public School Music Students with Attention Deficit Hyperactivity Disorder and Dyslexia explores the need for curriculum modifications, accommodations, and remediation techniques for beginner band students with specific learning disorders (SLDs) under the umbrella of Individual Education Programs (IEPs) or 504 plans for attention-deficit/hyperactivity disorder (ADHD) and/or dyslexia. ADHD and dyslexia are the most common of the neurodevelopmental disorders, often affecting a student's ability to stay focused and attentive; remain quiet and well behaved; comprehend written, visual and/or oral instruction; organize thoughts and materials; exhibit good time management; execute fine and gross motor skills; retain and recall information; decode symbols; process information quickly and correctly; maintain healthy, interpersonal relationships; and overcome anxiety. In order to provide inclusive instruction, music educators should understand how to identify these (often comorbid) conditions and the musical challenges these students might encounter, including time/pulse, notation, rhythm, posture, fingerings, and sight-reading. A guide for instrumental directors and private instrumental teachers, "How to Accommodate or Modify Musical Instruction for a Student with ADHD and/or Dyslexia" is included in this dissertation to provide useful information, multisensory techniques, and suggestions to help students with these learning disabilities achieve better success in the music classroom.

This research explores the need for a unique, self-help manual to provide music students with diagnoses of dyslexia under the umbrella of specific learning disorder (SLD) and/or attention-deficit/hyperactivity disorder (ADHD) a positive way of coping with their musical tendencies. Dyslexia and ADHD are the most prevalent, comorbid neurodevelopmental disorders with symptoms affecting academic, social, and/or personal life. Musical symptoms could include difficulties in any of the following areas: notation reading; time, pulse, and rhythm; posture; fingering coordination; memorization; sight-reading; organization of thoughts, time, and materials; spatial and directional awareness; focused attention; retention of new concepts; positive attitude; and the ability to process written and/or oral information quickly and accurately. This dissertation includes scientific information related to the conditions; an analysis of musical tendencies; pedagogical approaches; personal anecdotal stories that serve to illustrate scientific concepts; and a self-help manual. The manual, "Music, Dyslexia, and ADHD: A Self-Help Manual for Students with Exceptionalities," is a colorful, accessible resource that begins to fill the self-help gap in the musical instruction literature for students with dyslexia and/or ADHD. It offers useful information, multisensory/multimodal techniques, and coping strategies to empower students with these learning differences to achieve more rewarding, independent success throughout their musical studies.

In the summer of 1906, Marion Bauer (1882-1955) boarded a ship to Paris to meet with Raoul Pugno, a French pianist and composer. Juliette Nadia Boulanger (1887-1979) was also close with Pugno around the same time. Living with the Pugno family in Gargenville during the summer, Bauer was able to travel to Paris, where she met several important musicians of the time and also nineteen-year-old Boulanger. Pugno, who worked closely with Boulanger, asked her to teach counterpoint and harmony to Bauer. Boulanger agreed and reportedly asked Bauer for English lessons in payment. Both women went on to become important music pedagogues, teaching hundreds of students. Their meeting allowed Bauer and Boulanger to share their ideas on teaching and music with each other. As time passed, the relationship between the two women fade from collective memory, but Boulanger's teaching principles of harmony, hearing, la grande ligne, and music history and literature live on through her students and fellow teachers and composers. Bauer's writings demonstrate similarities to these four key principles. Using Kimberly Francis and Emily Green's understanding of Pierre Bourdieu's theory of cultural production and an analysis of Boulanger's pedagogical principles, I believe that Boulanger's early accumulation of cultural capital and experience was shared with Bauer, assisting Bauer in her future role as American music pedagogue.