Thesis (Ph.D.)--University of Minnesota, 2005. / (UnM)AAI3198132. Source: Dissertation Abstracts International, Volume: 66-12, Section: A, page: 4334. Adviser: Keitha Hamann.

Thesis (D.Mus.)-University of Pretoria, 2007. / Abstract in English. Includes bibliographical references. Available on the Internet via the World Wide Web.

Dissertation (M.Mus.(Music education))-University of Pretoria, 2007. / Abstract in English. Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (Ed.D.)--Columbia University, 1966. / Typescript; issued also on microfilm. Sponsor: Gladys Tipton. Dissertation Committee: Harry R. Wilson. Includes bibliographical references.

Thesis (Ed.D.)--Teacher's College, Columbia University, 1967. / Typescript; issued also on microfilm. Sponsor: Gladys G. Tipton. Dissertation Committee: Leland B. Jacobs. Includes bibliographical references.

Thesis (D.Mus.)-University of Pretoria, 2005. / Abstract in English. Includes bibliographical references. Available on the Internet via the World Wide Web.

<p> Since the implementation of the New York State Common Core Standards, two primary problems have arisen for elementary instrumental music teachers. First, instrumental music teachers' time to work with students is diminishing. The demands of the rigorous curriculums developed to teach the Common Core Standards create a climate where English Language Arts and Math have precedence over all other subject areas. Music is a core subject in New York State but how it appears in the school day can vary from school district to school district. Second, students are assigned so much more homework causing parents to have reservations about engaging them in other activities but many still involve their children in music. These parents have a set of acquired dispositions of thought, behavior, and taste regarding music or a musical habitus (Bourdieu &amp; Wacquant, 1992; Rimmer, 2006).</p><p> This study identifies and explores the musical habitus of parents of students at a K-5 elementary school within a large economically diverse suburban school district in upstate New York. General music classes are part of each elementary school's master schedule and families have the option to participate in an elementary band or orchestra program. Specifically, the author seeks to understand the <i>musical habitus</i> of parents whose children are participating in the elementary orchestra.</p><p> The analytical and theoretical framework used by the author for this research is grounded in Bourdieu's (1986, 1992) theory of capital, with a focus on his notion of habitus and Epstein's (2010) theory of overlapping spheres of influence. Bourdieu's concept of habitus has been extended into the arts in general and to music in particular to examine the way in which people's individual histories, class origins, family backgrounds and educational opportunities interact to compose their ongoing relationship with the arts. Rimmer (2006) describes a <i>musical habitus</i> as an active, adaptive and generative action in sustaining musical meanings, and the structures in which they are embedded. Epstein's work focuses on one part of Bourdieu's concept of field by uniting home and school for the families involved. Understanding the level at which these three areas must interact will be a focus in the analysis of data. Together, they served as a lens to understand the musical habitus of the parents and why music is valued. This study challenges orchestra directors and administrators to understand why parents encourage and perpetuate their child's participation in instrumental music when balancing the daily schedules of their students.</p><p>

<p> Teachers represent a large portion of professional voice users in the United States and the development of poor vocal health has related to their work. Elementary music educators are expected to use their voices in both speech and song and are vocally active for much of their workday. This study investigates elementary music teachers&rsquo; conceptualization of their voices, what personal and professional value teachers place upon their voices, and how vocal health may affect, support, or detract from their careers. </p><p> In this multiple case study conducted with three participants, a questionnaire addressed background demographics for the teacher and information regarding the music program. An interview collected more in depth data on thoughts and perceptions of voice use. Teachers completed the Voice Handicap Index and Singing Voice Handicap Index and each teacher was observed for one full workday. </p><p> Vocal professionalism and caring for the voice&rsquo;s professional use vary in definition and importance from teacher to teacher. Participants seem more conscious of their physical health than other aspects of professional vocal demand. Participants described themselves as vocal professionals while also engaging in behaviors which did not consistently support sustainable vocal health or hygiene. While each teacher viewed their voice as a professional tool, none had received training in the care of their voices, in what to do if their voice was injured, or in how to use their voices safely while teaching. Each teacher reported mild to no voice handicap on both the Voice Handicap Index and the Singing Voice Handicap Index. This may reflect some degree of label avoidance. </p><p> Teachers at the elementary level of music come from diverse backgrounds and teach in widely varying circumstances. Teachers may hold some information on vocal health but may not have been trained in how to use the voice while teaching and may develop habitual practices which are not conducive to a career of healthy vocal production. Increased attention is indicated for the populations who professionally use their voices in both speech and song.</p><p>

<p> This mixed methodology study investigated the arts integration practices of music teaching artists participating in four selected elementary school arts integration projects in the United States. This study also explored the possibility that music teaching artists&rsquo; formal education, arts integration training and professional development, and their own attitudes as well as different stakeholders&rsquo; attitudes about arts integration and music education impacted their arts integration practices. The explanatory two-phase design of this study began with the collection and analysis of quantitative data and was followed by the collection and analysis of qualitative data, thus connecting the results from the former to those from the latter. The quantitative data provided information for purposefully selecting the interview participants who provided the qualitative data collection in phase two.</p><p> The data gathered in this study indicate that the music teaching artists shared similar beliefs about arts integration but that they believed their school leaders&rsquo; goals and objectives differed from their own. The data also provided evidence for concluding that the music teaching artists believe that the most successful arts integration projects are those that are collaborative partnerships between an arts specialist or classroom teacher and a teaching artist. A unexpected finding in this study was the teaching and exploration of <i>sound</i> in arts integration projects team taught between a sound teaching artist,&ndash;some without musical backgrounds or formal training&ndash;a music teaching artist, and a classroom teacher.</p><p> The statistical analysis in this study regarding the degree to which formal education, arts integration professional development and training, music teaching artists&rsquo; attitudes about arts integration, and the beliefs held by music teaching artists regarding school leaders&rsquo; and their arts organization&rsquo;s administrators&rsquo; attitudes about arts integration were predictors of the arts integration practices as self-reported by music teaching artists produced results that were non-significant.</p><p> The content analysis of curriculum documents and student products submitted by the study participants revealed information to support the findings from the interview and survey data.</p>

Thesis (Ed.D.)--Teachers College, Columbia University, 2007. / (UMI)AAI3269132. Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2376. Adviser: Lori Custodero.