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

Cette thèse propose un nouveau modèle d’éducation musicale interculturelle fondé sur l’interaction des identités musicales des élèves. La perspective interculturelle de l’éducation musicale ne peut pas être réduite à l’opération encyclopédique qui consisterait à ajouter quelques écoutes ou exécutions de musiques « autres », mais doit atteindre un renouvellement méthodologique intégral de la matière. En ce sens, la contribution des recherches sur l’éducation musicale interculturelle peut offrir la possibilité de construire un nouveau paradigme de l’éducation musicale, qui prend en considération d’abord les identités des élèves et non une séquence de contenus disciplinaires établis a priori. La thèse met en discussion l’histoire de l’éducation musicale interculturelle, à partir de ses premières formulations américaines et ensuite nous conduit à un état des lieux en Europe. <p>Dans la seconde partie, la recherche présente les différentes théories sur l’identité musicale ainsi que les recherches qui ont mis en discussion l’unicité du concept de musique et qui nous permettent aujourd’hui d’avoir aussi une base musicologique pour l’éducation musicale interculturelle. Les derniers chapitres sont consacrés à la discussion des méthodes pédagogiques pour une éducation musicale interculturelle et à des exemples pratiques. En particulier, ces derniers chapitres tracent le parcours qui mène à la construction d’un modèle réticulaire et dynamique de l’éducation musicale considérant comme fondamentale l’interaction et la coopération entre les élèves et intégrant aussi les plus récentes recherches sur l’éducation musicale informelle (informal learning). Du point de vue des suggestions pratiques, la thèse met l’accent sur le rôle central de la créativité, de la récupération de l’enseignement et de la pratique musicale orale, du développement de l’improvisation individuelle et collective. <p> / Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted

In the process of reform and development in South Africa, set in motion after its first democratic elections (1994), educators have the unique opportunity to re¬think, re-plan and re-structure the music education system holistically within the context of formulating unit standards now required by the South African Qualifications Authority (SAQA) for all learning areas. This thesis addresses two aspects in this process, against the background of the broader MEUSSA (Music Education Unit Standards for Southern Africa) Research Project, namely the development of a model for music education in Southern Africa and its application in a General Music Appraisal Programme (GMAP) for all learners. The MEUSSA Model, developed in this thesis, captures and displays the key elements necessary to compile unit standards across the board in music education, as identified by the author and endorsed by the MEUSSA team. These standards are grouped together in a musically logical way under collective headings. The three-dimensional model in the form of a cube can be manipulated according to the needs of the specific music practice involved, at the same time keeping the broader context of music education in Southern Africa in perspective. The MEUSSA Model is intended by the author to keep the standards generating process together cohesively. The author implements the MEUSSA Model in the GMAP, which she compiled with the aim of providing a general music education background for all learners in Southern Africa. The learning outcomes (unit standards) address music-¬specific skills, knowledge and attitudes with their related assessment criteria. / Thesis (DMus)--University of Pretoria, 2006. / Music / unrestricted

This qualitative study investigated four monolingual, English-only speaking Caucasian elementary music teachers and their reflections regarding instruction of English language learners (ELL). The purpose of this multiple case study was to investigate the teaching practice and curricular decisions of elementary music teachers who instruct Hispanic ELL students. The investigation was conducted during a nine-week period, and data collection included classroom observations, phenomenological interviewing, and teacher audio journals. None of the teachers had prior education or pre-service preparation in teaching music to ELL students. The major theoretical base from which the study was developed was the reflective teaching theory of Donald Schön (1983). The main research question was: "What are the participating teachers' reflections about their curricular and pedagogical decisions when teaching ELL students?" Following a description of the elementary music teachers' reflections on practice with ELL students, the study revealed that the majority of elementary music teachers had a lack of preparation and ELL music curriculum, and negative perceptions of the placement program for ESL students. Despite these factors, the teachers made attempts to include ELL students in all music activities. This study showed that while one teacher accommodated specifically for the ELL students' learning, three out of four teachers did not. This study also suggests that music is a subject by which strong interactions between peers, opportunity for language expansion, and other factors occur which have positive correspondence to recommended ELL instructional strategies. A cross-case analysis revealed that the life history and experience of the elementary music teachers had an influence on the teachers' awareness of ELL students. The analysis suggests a relationship between teacher awareness and accommodation. The study also recognized the need for further inquiry regarding ELL students and issues related to their school placement. This study has implications for music education research including suggestions for music teacher preparation in working with ELL students, ELL music resources and curriculum, and pre-service and in-service ELL music preparation.

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.

No description available.

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