South African teacher education is confronted by educational problems of a vast magnitude and complexity. In view of students' needs, society's expectations and improvement of teaching, problems need to be critically investigated. In order for the subject didactics curriculum to meet these needs and demands, a critical analysis was done of the current music syllabus (1991) for teacher training colleges in Venda. Against the background of the structure and components of didactics, subject didactics in general and of music in particular, criteria were formulated for the analysis. As a result of the analysis deficiencies such as the lack of suitable aims and objectives, content with a Eurocentric emphasis disregarding African music, a lack of teaching methods which could be applied in the classroom, etc., were discovered. In conclusion, recommendations and guidelines were formulated in order to address these problems. / Educational Studies / M. Ed. (Didactics)

La thèse porte sur la construction d'une identité spécifique chez les professeurs des écoles de musique: musicien et enseignant. La recherche s'intéresse aux personnes musiciennes qui suivent un cursus de formation initiale à l'enseignement musical spécialisé et montre, par l'analyse de différents parcours, comment l'identité de musicien s'articule avec l'identité d'enseignant.<p><p>In english <p>The thesis relates the construction of specific identity to the professors of the music schools: musicians and teachers. The research task concerns the study of musician people who follow an initial training specialized in musical teaching and shows, by the analysis of various training directions, how the identity of the musician turns around the teacher’s identity. <p> / Doctorat en Sciences Psychologiques et de l'éducation / info:eu-repo/semantics/nonPublished

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An important and unending responsibility of the music teacher is the competent evaluation of available basic text-series. It seems obvious that before any text-series, or any single book, is adopted for use in the public school music classes, a process of assessing the available series or single volumes should precede the final decision and purchase. Since a thorough search in music education literature has failed to reveal any set of formal rules of analysis, the writer has thought it possible to use those general principles recommended by two authoritative sources, The Psychology of School Music Teaching by Mursell and Glenn, and Music in the Grade Schools by Gehrkens in collaboration with personal ideas obtained from professional study of music teaching and experience as a music teacher.

In music education, aesthetic education and praxial music education serve as two major, guiding philosophical frameworks, yet supporters of each often conflict with one another. Furthermore, both are slightly problematic with respect to the specific context of the public school. Each framework is primarily music-based, however, music education has existed in the wider context of general education since the 1830s. Given the recent core-status designation for music education, as part of all fine arts, in the reauthorization of the Elementary and Secondary Education Act, a framework from general education that supported music education could offer benefits for the domain. However, the wider context of general education is messy as well. Two groups occupy most of the space there, and remain locked in a fundamental disagreement over the purpose of a formal education. The progressive educators, historically framed by Dewey and Thorndike, contend that education functions as societal improvement. In contrast, the essentialists contend that education functions as cultural transmission. Therefore, a more specific need for music education involves selecting a framework from general education that resolves this conflict. The writings of William Chandler Bagley indicate that he balanced both considerations of a formal education while also advancing his notion of essentialism. Bagley differed from the progressive educators predominately associated with Dewey over definitions and ideas surrounding a democratic education. Emergent points of contrast with Thorndike include distinctions between social efficiency and Bagley's alternative idea of social progress. Bagley also diverged from other essentialists over definitions concerning liberal and cultural education. To make these viewpoints of Bagley explicit, I describe characteristics of a progressive education, and an essentialist education separately, before introducing Bagley. Finally, I apply Bagley's ideas into the domain of music education. Ultimately, I contend that through common outcomes of creativity, competition, and literacy, the domain of music education can remain securely grounded in the values within the public schools.

This research examines the efficacy, if any, of the Music and Visual Arts (MVA) program in improving the English vocabulary development of first grade Thai students. The researcher developed the Vocabulary Recognition Assessment (VRA) as a measure of English vocabulary development. It employs the accuracy and rapidity method of word recognition as a measurement of English language development in Thai children. Forty first grade Thai students in a Bangkok elementary school participated in the study. Participants were divided equally between an experimental group and a control group. During a nine-week period, students in the experimental group were instructed with the MVA strategy, while students in the control group were taught with the Visual Arts (VA) strategy. Paired sample t-test, ANOVA, and ANCOVA were used to analyze data from the VRA, to compare the pre-test and the post-test in terms of accuracy scores and rapidity scores of the control group and the experimental group. Data revealed that students instructed with the MVA strategy improved their English vocabulary development in terms of accuracy of word recognition significantly more than students taught English using the VA strategy. No significant difference was found between the MVA strategy and the VA strategy in terms of rapidity of word recognition. The MVA strategy could be a useful strategy for Thai early childhood teachers to use in helping Thai children learn English vocabulary.

The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.

Text in German / The study at hand proceeds from the assumption that there is a catechetical as well as a music pedagogical teaching tradition for young children. The touch points of the two disciplines emerge rather by chance than by design because one discipline uses the other as an approach. This study raises the key question if a music catechetics is possible. The term music catechetics is used to describe a learning process based on an equal balance of both music pedagogy and catechetics. The debate of this question requires interdisciplinary conversations. The answers can be found in developmental psychology as well as music psychology, music sociology, anthropology and ecclesiastical history. In the end this gives rise to practical theological criteria which can be used to answer and justify the question of music catechetics. / Die vorliegende Untersuchung geht von der Tatsache aus, dass es für Kleinkinder sowohl eine katechetische wie ein musikpädagogische Lehrtradition gibt. Die Berührungspunkte beider Disziplinen ergeben sich eher zufällig, indem sich die eine Disziplin der anderen Disziplin als Methode bedient. Diese Untersuchung stellt nun die zentrale Frage, ob eine Musikkatechese möglich ist. Unter einer Musikkatechese wird ein gleichberechtigter Lernvorgang verstanden, der sowohl Musikpädagogik als auch Katechetik erfasst. Um diese Frage zu erörtern werden interdisziplinäre Gespräche nötig. Sowohl die Entwicklungspsychologie, als auch Musikpsychologie, Musiksoziologie, Anthropologie und Kirchengeschichte werden befragt. Schließlich werden praktisch theologische Kriterien erhoben, aus denen heraus die Frage nach einer möglichen Musikkatechese beantwortet und begründet wird. / Philosophy, Practical and Systematic Theology / M.Th. (Practical Theology)

Latinx students are underrepresented among high school music students in the United States, nationally. However, localized demographics in some parts of the country reveal secondary music programs that are comprised nearly entirely of Latinx students. Still, the experiences of such a large and racially marginalized population as Latinx students remain under-researched in the field of music education. To explore how Latinx racial identity may inform the experiences of Latinx music students and their music teachers, I conducted a post-qualitative study of students and teachers in music classes at large secondary schools in which the Latinx population is 95 percent or more. Data were collected through in-depth, semi-structured interviews with music students and their teachers. To guide my thinking on the role of race in the lives of the participants, I incorporated Omi and Winant's (2015) theory of racial formation throughout the data analysis. Overall findings indicated that race informs much of the experiences of the participants in varying, sometimes subtle ways. Through racism, racial resistance, the formation of racial identity, and the incorporation of both colorblind ideology and race consciousness, the participants provided nuance as to how we may regard the role and significance of race in music education. Implications for developing a racial-justice-oriented paradigm in music education are also discussed.

School orchestra programs are overwhelmingly concentrated in suburban districts, which are becoming increasingly racially and economically diverse. Diversifying suburbs lie at the crossroads of race, racism, and whiteness and findings drawn from these settings can have implications for racial dynamics in all educational contexts. The purpose of this instrumental case study was to explore how racially underrepresented students perceive race within an urban characteristic high school orchestra program through the lens of critical race theory. I developed a composite counter-story to examine the racialized experience of school orchestra told from the perspective of students of color with a particular interest on competition. Participants were six students and two teachers affiliated with the same high school orchestra program in Texas. Emergent thematic findings examined students' sense of racial belonging, mechanisms upholding the racial status quo, and fulfilling aspects of students' orchestra participation. Though the lens of critical race theory, I discuss how everyday whiteness, property of whiteness, and meritocracy function to maintain white hegemony in school orchestra.