The purpose of the study was to observe and document the manner through which eight students from two separate Grade 2 classes combined both syllabic (musical) and prosodic (word) rhythmic composing strategies during an eight week composing unit. Through the triangulation of data collected in the form of a research journal, student compositions, videotapes of composing behaviour, and transcriptions of group student interviews, integrated and music dominated group composing processes emerged, as well as four dominant trends of composing behaviour. First, a dialectical relationship between phrasal development and conception of meter was observed to exist depending upon student choice of composing strategy. Second, the influence of leadership roles was observed to play a dominant role in the determination of group composing process. Third, students exhibited differing modes of rhythmic perception during the assembly and performance stages of composition. Fourth and finally, an ambiguity regarding future preferred composing strategy was noted by students. Implications for education include the integration of cross-curricular (music and language) composing units. Further study of the influence of cooperative learning and student perception of meter within the domain of composition is recommended as children were capable of generating linguistic and musical learning opportunities “from the inside-out.”

The purpose of this study was to examine the work band directors do in the course of their jobs. Specifically, I sought to understand more about the disjuncture between the balanced music education band directors want to deliver to their students and the need to prepare and present performances that bring positive notoriety to a band program. Using Institutional Ethnography (IE), I interviewed, observed, and explored the texts that directors create and/or refer to as they lead their band programs. Institutional Ethnography is a method of inquiry that allows a researcher to probe those immersed in situations that he or she finds problematic. The term problematic refers to something about which a researcher is interested in learning more. It was found that the three band directors included in this study are granted much freedom when it comes to creating or referring to a music curriculum. The directors appreciate this freedom and have each chosen various forms of curricula, which range from an official curriculum document that is used specifically for music theory instruction across Canada to a poster designed by university music instructors. With regard to performances and the pressure to prepare them, each director had a different way in which they organized their instruction to teach both performance skills and music literacy. One director relies heavily on a theory curriculum to supplement his work on performances while another works through various method books that include non-performance-based music instruction. Through this study I was able to show the gap that occurs between a well-rounded music education and a primary focus on performance in a band program. The band directors I interviewed revealed a deep desire and belief that they were delivering a comprehensive music education to their band students. In the course of my research, the pressure to create outstanding performances could be seen in the band directors’ talk and instructional organization. It is hoped that the results of this study will aid university instructors and curriculum writers in developing successful ways to deliver music instruction in a band program while remaining cognizant of performance.

Present research provides strong support for the use of creative activities in school music programmes based on evidence that learning music is more effective when students are exposed to authentic, experiential learning activities, rather than verbal descriptions and explanations by the teacher. Based on this background the purpose of this study was to address the need to train music teachers with the confidence and skills necessary to incorporate creative music making in their classroom teaching. The study was divided into two phases. Phase I included a questionnaire survey that investigated the current situation of music teaching in Hong Kong secondary schools. To extend this survey three composers and three curriculum planners were invited to participate in semi-structured interviews in order to survey their opinions and suggestions on creative music making. Based on the literature review and findings from Phase I, Phase II focused on the design of a teacher education programme that would prepare teachers to undertake creative activities in their classroom music teaching. The programme was trialled twice with two groups of in-service music teachers studying at the Hong Kong Institute of Education. The trainees were asked to design their own creative projects that were taught during a four-week Teaching Practice session. Findings reveal that the most effective creative projects possessed a logical teaching sequence, addressed students???? musical preferences, and integrated listening and performing activities with the creative task. Findings suggest that Hong Kong music teachers should adopt the techniques proposed in this study when designing and implementing their teaching programmes in order to nurture the musical creativity of their students. Music teacher education programmes in Hong Kong should also consider revising their modules so that they provide more balance between theory and practice, and integrate subject-based knowledge with pedagogical skills. A major conclusion of the study is that music teaching in Hong Kong secondary schools would benefited from a balance between creating, performing and listening activities where teachers apply a student-centred approach to expose their students to active, experiential and reflective learning environments in which creative musical expression is fostered at all levels of student development.

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