The purpose of this multi-site comparative study was to engage music educators in a process to uncover broader perspectives on their pedagogy by breaking down the barriers between general education pedagogy and music education. The curriculum planning and instruction of music teachers were observed through Schwab's Commonplaces framework to identify connections between their initial approaches and changes made during the beginning of the 2020-2021 school year. Participants were seven New York City middle school general music teachers. Data were collected from participants in two sets, each consisting of one questionnaire in Qualtrics, and one interview on Zoom for a total of four instruments. The data analysis process was as follows; (a) data organization, (b) first cycle structural coding, (c) second cycle coding, and (d) synthesis and cross-case analysis. The study addressed the following research questions: (a) How can the curriculum planning, and instruction of music teachers be observed in relation to Schwab's commonplaces? (b) What connections might be inferred between these observations and any later curriculum or instructional changes (or lack thereof) made by teachers? (c) How might the schooling changes resulting from the Covid-19 outbreak have impacted these decisions? (d) What impact and/or changes in student engagement and learning might be observed by teachers during the period of this study? The findings were as follows; (a) Commonplace lens/es for curriculum planning and instruction were misidentified by participants, Learner was the most emphasized Commonplace instruction lens and four participants were unable to differentiate between curriculum and instruction, (b) Teachers' more accurately identified the Commonplace lens/es in the second data set, Learner was the most emphasized Commonplace lens for curriculum planning and instruction, and student feedback and/or engagement influenced curriculum changes, (c) COVID-19 affected participants' emotions, attitudes, and decision-making, school reopening structures frequently changed, participants simplified curriculum content for remote and reduced instruction time, and altered curriculum and instruction to prioritize students' social-emotional well-being and engagement, and (d) Student engagement and learning looked different due to COVID-19 schooling changes, in-person students showed improved engagement and quality of work, other subjects affected student engagement and learning, which improved after curriculum changes.

Each music teacher steps into their classroom as an educator shaped by their unique life experiences. Former music teachers, ensemble participation, culture, media, teacher education, and family dynamics are just a few of the influences that make each music teacher unique. Acknowledged or not, these factors shape the verbal messages of music teachers in the classroom. This study explored how elementary music teachers explicitly share what they believe about the potential of their students’ musical ability through verbal messages during instruction. Symbolic interactionism was used as the theoretical framework for this study because it helps explain how people attach meaning to language through social interactions. Carol Dwek’s growth mindset research was the lens for the theoretical framework. The growth mindset framework of Dweck was adapted for music in this study to help teachers identify and reflect on their mindset and explore how applicable it might be as a framework for music educators to foster growth in developing musicians. This intervention study recruited four elementary music teachers. Interviews, classroom observations, a Likert scale survey, open-ended questions, and reflection prompts were used to collect data. Each instrument's design was built on Dweck’s research regarding mindset identification but adapted for musical ability. The four research questions sought to capture the experiences of participants from their existing knowledge of growth mindset practices to observable changes after the growth mindset intervention. The data were analyzed and coded to find evidence of fixed and growth mindsets explicitly in elementary music instruction before and after the growth mindset was used as an intervention. This study showed that a growth mindset framework can only be observed through verbal messages when opportunities for skill development are authentically facilitated. The bulk of verbal examples presented in this study indicate that a growth mindset is embedded in the scaffolding of effective teaching strategies. Triggers of a fixed mindset with verbal examples are presented with implications for practice and suggestions for future research.

The purpose of this study was to investigate the effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight in the preparation of music for sight-reading. One hundred thirty-one middle school students from 12 randomly assigned bands in the Midwestern United States provided data for a pretest-posttest control-group design. Of the 12 participating middle schools, four schools served as the control group (n= 42), four schools delivered rhythmic instruction using iconic-based methods (n= 42), and four schools delivered isolated rhythmic training using symbolic-based methods (n= 47).Using adjusted pretest scores from a researcher-constructed rhythm test (Rhythm Sight-Reading Performance Ability), the Musical Aptitude Profile (1995), and the Wechsler Abbreviated Scale of Intelligence (1999), results of an analysis of covariance (ANCOVA) revealed that no group obtained a significant difference on the posttest mean scores from the rhythmic performance test (F= 1.940, df= 1, 107, p= .149). Because results from individual schools showed considerable variation, other variables were observed to see if they were significant. Findings from an ANCOVA revealed that the individual school was significant (F= 3.141, df= 9, 107, p= .002).To verify the relationship found between the individual school and the posttest measurement, an analysis of covariance (ANCOVA) was run with the pretest and posttest scores serving as repeated measures. The results indicate that a significant interaction between the individual school and the pretest to posttest measurement exists. In light of these findings, it is speculated that the key to improving a student's rhythm-reading ability may be dependent not only on the method, but also on the quality of instructional delivery. / School of Music

In this multimodal dissertation album, the author utilizes a Hip Hop Research Design framework to explore the youth poetry slam as a site of radical healing that embodies specific Hip Hop aesthetics. The author reflects on his own journey as a poet, musician, and Hip Hop based educator. Part novel, musical album, and collection of poems, this hybrid text employs a multimodal remix poetics. The dissertation extends the current literature on Hip Hop and education by utilizing specific Hip Hop aesthetics and literacies, such as sampling, as a way to critically reimagine Hip Hop pedagogy in K-12 classrooms. The aim of this study is to provide a new methodological framework for doing Hip Hop based research in education while connecting an embodied theory and practice. This innovative methodology is demonstrated through “samples” of personal and educational experiences that are remixed into a narrative exploration of the youth poetry slam as a site where young people practice critical Hip Hop literacies. The retrospective study contains original writing and interviews with four youth poets who participated in local and regional slams while high school students. The data in this study are original music and spoken word compositions created in Ableton Live and Adobe InDesign. This data are derived from poems, interviews, focus groups, field notes, and reflections about the intersections of Hip Hop, spoken word, and critical pedagogy. Finally, through a critical Hip Hop praxis, the author demonstrates how Hip Hop Based Education can be pushed towards a new frontier of activism, healing, and social change. The full multimodal text can be accessed at https://www.brianmooney.com/dissertation

This critical hermeneutic phenomenological study investigates the lived experiences of Asian American women leaders in higher music education, in order to address their historic and ongoing underrepresentation in leadership roles. Asian Americans comprise a large percentage of students in schools of music and are represented at higher numbers among music faculty than their other minority counterparts, although they are still not at parity with the number of Asian American students. Despite their success as performers and teachers, Asian American faculty and students are subject to typecasting, racialized experiences, and xenophobic attitudes that are often ignored or unchallenged in higher music education institutions. These experiences, along with prevalent gender biases surrounding women leaders, have contributed to the "shockingly small" representation of Asian American women in leadership and administrative positions in music. The purpose of this research is to discover essential factors that impact Asian American women's leadership opportunities by learning about their racialized and gendered experiences in higher music education. A hermeneutic phenomenological study is especially suited for incorporating the researcher’s reflexivity while exploring nuances of the phenomenon and discovering commonalities between lived experiences. The study utilized Asian Critical Theory as the main conceptual framework. Lifeworld existentials, such as the lived space, lived body, lived time, and lived human relations of Asian American women, served as additional frameworks for data analysis and hermeneutic reflection. Data was collected from six Asian American women leaders in higher music education in the form of conversational hermeneutic interviews and focus groups, then analyzed to detect larger phenomenological themes. Findings indicate that Asian American women leaders experience dual conflicts in the workplace due to internal cultural influences and external influences of dominant male White ideals of leadership. They experience discrimination as members of the privileged oppressed, and their rich lived experiences are central to their development of community-based leadership values—among them, empathy, resilience, representing marginalized voices, and pragmatism. Asian American women leaders are driven by their missions to create space for belonging and inclusion in schools of music, and are committed to social justice around all forms of oppression.

Accompanist is the old term. Collaborative pianist is the new one. Accompanist implies a mostly subservient role, whereas collaborative pianist gestures toward a more equitable relationship between the soloist and pianist, no longer a mere follower. Degree programs that prepare collaborative piano skills are growing rapidly in higher education since their inception five decades ago, encouraging a wider range of pianists to pursue an intentional career path. Becoming a seasoned collaborative pianist takes time, however. Little empirical research has investigated the preparation process. What is it like for collaborative piano majors to accumulate collaborative skills and practical knowledge? How is collaboration defined and experienced, and how helpful do students find their programs? Without understanding student experiences, the artistic well-being of collaborative pianists is at stake, and so is the field’s own ability to do its work. This qualitative study examines lived experiences of collaborative piano students in conservatory and university degree programs. As researcher, I conducted in-depth semi-structured interviews exploring topics including, but not limited to, professional identity, attitudes and dispositions, competencies and skills, struggles and challenges, power dynamics as well as teamwork with four recent graduates in the United States. It seems that issues of professionalization, an unclear definition of “collaboration,” and a lack of student agency are central to all lived experiences. An examination of these phenomena would contribute to the growth of the field, empowering its ability to do its job more efficiently and sustainably.

This phenomenological study delves into the nuanced lived experiences of Korean American college music majors in U.S. music education. Seven participants were recruited based on the specific criteria: (a) Korean immigrants, (b) experience in band classes or orchestra classes during their K-12 years in the U.S., and (c) majoring in music or music education. Based on the collected interview data, a structured analysis process was conducted. As a result, 5 units of meaning were identified, which were able to synthesize the experiences of Korean American immigrant music majors: (a) Culturally inclusive (or not) music experiences, (b) feeling included (or not), (c) supportive (or not) music teachers, (d) intricacies of Korean cultural music, and (e) cultural identity. After the analysis process, hermeneutic circle was conducted to refine the synthesized 5 overarching meaning units. Refined clustered units of meaning from the Hermeneutic circle were: (a) Experience of Korean cultural inclusion mostly outside of regular music classes at school, (b) Korean American college music majors felt included when musically engaged, (c) Korean American college music majors emphasized the important role of music teachers, (d) Korean American college music majors think that culturally responsive music education is not simply implementing cultural music in repertoire, and (e) Korean American college music majors argued that cultural identity is complexe and can be described differently, depending on the situation. Through the identification and exploration of 5 overarching units of meanings, it offers a profound understanding of how Korean Americans navigate cultural inclusion, engagement in music, the role of music teachers, the complexities of culturally responsive education, and the multifaceted nature of cultural identity. This exploration contributes to a richer comprehension of the diverse facets of Korean Americans' music education experiences and extends its impact by providing a broader perspective on the encounters of Asian immigrants in the U.S. The indirect comparison with the researcher's native Korean K-12 music education background adds a unique layer, unveiling insights into how Asian Americans actively navigate limitations within the U.S. music education system. The implications drawn from this study highlight the proactive engagement of Korean Americans in U.S. music education. Musicians, policymakers, and practitioner-researchers are encouraged to consider these insights in their respective roles. Musicians, regardless of cultural background, are urged to persist in creative endeavors, contributing to the creation of diverse arrangements and addressing the absence of representation. Policymakers should address the demographic imbalance among music teachers, actively working towards creating a more diverse and inclusive landscape within the field. Practitioner-researchers play a crucial role in researching and addressing the needs of culturally marginalized students in music education, focusing on fostering inclusivity.

The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.

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Orientador: Aci Taveira Meyer / Tese (doutorado) Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T21:34:52Z (GMT). No. of bitstreams: 1 Mendes_AdrianadoNascimentoAraujo_D.pdf: 7251581 bytes, checksum: fefc48319de35d5863240f47e7fc4a21 (MD5) Previous issue date: 2010 / Resumo: O presente trabalho apresenta a pesquisa de Doutorado que foi desenvolvida no Instituto de Artes da Unicamp pela doutoranda Adriana N. A. Mendes, sob a orientação da Profa. Dra. Aci Taveira Meyer. Teve por finalidade investigar a efetividade de módulos de educação musical, desenvolvidos dentro do Projeto Conexão do Saber da Unicamp, para o ensino musical em escolas brasileiras. Através da confecção de um módulo teste, centrado no parâmetro rítmico e métrico do som, e aplicação do mesmo em alunos de escolas da cidade de Pedreira no estado de São Paulo, foram feitas considerações sobre o impacto de utilização da ferramenta do Conexão do Saber. O teste foi aplicado em laboratórios de informática de escolas públicas. Para a obtenção desses dados, a abordagem metodológica utilizada foi a pesquisa experimental, por meio do delineamento quase-experimental com grupos experimentais e de controle e aplicação de um pré-teste e pós-teste. Investigou-se a eficácia de um módulo educacional mediante comparação de grupos que receberam o tratamento (aula virtual) ou não. Para a confecção do módulo e viabilização da coleta de dados, trabalhou-se com a situação de exploração auto-dirigida, não sendo levada em consideração a presença do professor ou monitor ao lado do aluno. O processo de organização, tratamento e interpretação das informações foi fundamentado em Campbell e Stanley (1979), além de Hosmer e Lemeshow (2000), de modo que foi feita uma análise heurística e um tratamento estatístico das respostas de 130 sujeitos. Neste estudo, percentuais e tabelas caminham lado a lado com reflexões sobre os resultados obtidos. Inicialmente, foi feita uma revisão bibliográfica sobre educação mediada por computador (EMC) na área de Educação Musical brasileira, identificando-se de que maneira o assunto está sendo abordado no país. Em seguida, apresenta-se o Projeto Conexão do Saber, seus módulos educacionais e especificamente as concepções de Educação Musical que permeiam a confecção desses módulos sob a ótica da pesquisadora. Depois, são apresentados os procedimentos metodológicos e a ferramenta do módulo teste. Há então um relato do processo de coleta de dados, expondo-se em seguida os resultados e a discussão das informações reunidas. Ao final, são feitas considerações sobre a eficácia da ferramenta do módulo teste e sobre o impacto pedagógico do Conexão do Saber para o desempenho dos alunos em relação à aprendizagem e, mais especificamente, em relação à aprendizagem musical. / Abstract: The following paper presents the doctoral research which was developed in the Art Institute of Unicamp by Adriana N. A. Mendes, under the guidance of Professor Dr. Aci Taveira Meyer. It aimed to investigate the effectiveness of music education modules, developed at the Conexão do Saber project of Unicamp, for the teaching of music at Brazilian schools. By setting up a test module, focused on the rhythmic and metric parameter of sound, and applying it to students of schools in the city of Pedreira in the state of São Paulo, considerations about the impact of using the Conexão do Saber tool are made. The test was conducted at IT labs of public schools. To obtain this data, the methodological approach used was experimental research, through quasi-experimental delineation with experimental and control groups, having pre-tests and post-tests. The paper investigates the efficiency of an educational module by means of comparisons of groups which received the treatment (virtual class) or not. To set up the module and gather the data, a self-induced exploration scenario was used, not taking into consideration the presence of the teacher beside the student. The process of organization, treatment and interpretation of data is grounded in Campbell and Stanley (1979), as well as Hosmer and Lemeshow (2000), such that a heuristic evaluation and a statistical treatment of the answers of 130 subjects are done. In this study, percentages and tables go hand in hand with reflections on the results obtained. Initially, a bibliographical review on education mediated by computers (EMC) in Brazilian music education was done, identifying the way in which the subject is being approached in the country. Then, the Conexão do Saber project is presented, its educational modules and specifically music education conception which permeate the making of these modules under the researchers view. Later, the methodological procedures and the module test tool are presented. The data collecting process is reported, followed by the exposure of results and discussion of the information gathered. The results are exposed and the data collected is discussed. Finally, considerations about the efficiency of the module test tool and about the pedagogical impact of Conexão do Saber for the students' performance in relation to learning and, more specifically, in relation to music learning are made. / Doutorado / Fundamentos Teoricos / Doutor em Música