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.

Studien syftar till att öka musiklärarens förståelse för elevernas uppfattning om fördelar och nackdelar med dagens gängse undervisningsmetoder. Jag har i min undersökning utgått från faktorer som jag funnit i tidigare undersökningar som visat sig vara viktiga för musikundervisningens kvalité. Genom en intervjuundersökning har ett antal elever fått beskriva vad de uppfattat av specifika moment, som att lära sig sitt första ackord på gitarr. Samt skillnaden mellan att lära sig spela nya ackord på gitarr nu och i början. Svaren har sedan jämförts med vad som tidigare framhållits som viktiga faktorer för att uppnå god kvalitet på undervisningen. Resultaten av denna jämförelse visar en överensstämmelse med tidigare forskningsresultat. Fler av de faktorer som angivits i tidigare forskning var genomförda på den undersökta skolan, vilket avspeglade sig i elevernas resultat. Slutsats av detta är, att med en genomtänkt plan för musikundervisningen ges eleverna bra förutsättningar för att lyckas. Vilket kan göra att skillnader mellan resursstarka och resurssvaga elever minskar. Ett didaktiskt dilemma som lyfts fram i min undersökning är hur läraren ska hjälpa eleverna med att hantera ett instrument, inom ramen för klassundervisningen. / This study aims to enhance the music teacher’s understanding of student's perception of the advantages of today's conventional teaching methods. In my study I have assumed elements that I have found in previous studies that have shown to be important for music education quality. Through interviews, a number of students had described their understanding of specific tasks, like learning his/her first chord on the guitar. The difference between learning to play new chords on the guitar now and in the beginning. The results of the interviews were then compared with what was previously highlighted as important elements in achieving good quality music teaching. The results of this comparison show a consistent with previous research. A lot of elements mentioned in previous research were already implemented in the school studied, which was reflected in the results of the interviews. The conclusion of this is that with a well prepared plan for music education students are given good opportunities to succeed, which can make the difference between high achieving and low achieving students decreases. A didactic dilemma highlighted in my research is how the  music teacher should deal with individual help.

ABSTRACT THE SCHOOL OF PERFORMING ARTS AT BELLEVUE BAPTIST CHURCH AS A MODEL OF THE CHURCH-BASED ARTS ACADEMY Hae Eun Kim, D.M.A. The Southern Baptist Theological Seminary, 2014 Chair: Dr. Esther R. Crookshank The School of Performing Arts founded at Bellevue Baptist Church in Cordova, Tennessee is one of most successful examples of a church-related music academy in a Protestant or evangelical church in the United States. This dissertation is a study of its history and development from its founding in 1984 through the present in order to understand how a church-based music academy may be successfully operated. The methodology draws on interviews of prominent individuals in the School of Performing Arts and primary source documents related to the operation of the school since its founding. Chapter 1 establishes the historical background of the Academy in the larger context of church music education in the United States since the nineteenth century and specifically in Southern Baptist church life after 1941, when the denomination's Church Music Department was created. This chapter gives an overview of the leaders, philosophies, and objectives of church music education in the Southern Baptist Convention by decade. Chapter 2 documents the origins, philosophy, and development of the overall music ministry of Bellevue Baptist Church and the rise of its tradition of excellence in music education and performance. Since its founding, the School of Performing Arts has advanced the goals of family-based church ministry through the intentionally intergenerational nature of its ensembles. Chapter 3 traces the history of the School of Performing Arts in two periods: 1984-2004 and 2005 through the present, corresponding with the school's changes of name. From Performing Arts Center (1984-2005) to School of Performing Arts (2005-present), the name was changed in order to reflect more accurately the mission and goals of the applied music program at BBC: teaching people to praise God with instruments and voice. The conclusion, chapter 4, seeks to identify key factors and principles in the school's success and longevity despite the shift in recent years away from orchestral worship music in many Southern Baptist churches. This chapter also addresses possible applications of the Bellevue model to evangelical churches in Korea, many of which have extensive church music programs but lack educational programs, especially for instrumental music instruction, found in the American Southern Baptist model.

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The purpose of this study was to discover whether the expanded educational goals for primary level Music and Art in British Columbia's Year 2000 Curriculum are met when the curriculum is integrated and teaching is done through themes. The sample population selected for this study was the lower mainland of British Columbia. 12 school districts participated in this study. Semi-structured interviews were conducted with 17 administrators of Fine Arts Programmes, District Principals or Consultants. The results indicate that educational goals for Music and Art can be achieved when thematic units are used to integrate the curriculum but only when the classroom teacher can be described as a specialist in primary Music and Art, having a personal background in Art and Music, or having a degree as a Fine Arts Major. The curriculum-as-practiced differs considerably from the curriculum-as-planned due to lack of resources, in-service education and program scheduling.

The primary research question of this paper examines teachers' philosophies concerning parental involvement and pedagogical practices. Specifically, what are violin teachers' attitudes and practices concerning parental involvement? Secondary research questions were formulated as a result of major topics arising from the review of literature and focused on how and why teachers formed their personal philosophies towards parental involvement. The following research is unique in that it defines the concept of parental involvement directly from the perspective of the teacher. Because anyone teacher oversees the development of many violin students, he/she is in an extraordinary position to comment on factors, conditions and behaviours across a large sample of students with differing types and degrees of parental involvement. Specifically, this study investigates factors of parental involvement that violin teachers believe to have a positive impact on student success.

The aim of this thesis is to explore Namibian music and dance, to gain understanding of the character of different practices and through this, to provide teachers and learners in schools with materials suitable for use in the new arts curriculum in Namibia. In order to motivate the need for indigenous cultural materials, a brief historical background to Namibian arts education is sketched, highlighting the effects of colonialism on cultural identity and the separation of music from dance in education. In gathering examples of indigenous music and dance it became clear that for these practices to retain a measure of integrity in schools, new ways of thinking about performance in schools would be required. This leads to a discussion of an approach summarised within the term ngoma, which refers to holism, communality and orality among other things. It is suggested that music/dance as ngoma has a positive contribution to make to Namibian arts education. To support this suggestion in a practical way, I explore the indigenous traditions used to educate and socialise young people. Argumentation follows regarding possibilities of preparing teaching-learning materials in a manner appropriate to Namibian circumstances. A breakdown of diverse characteristics of indigenous music and dance is done in order to help the teacher identify and comprehend the individual characters of Namibian performances. In this way teachers should be better prepared to utilise the examples of music/dance events that follow. Various events are contextualised, described, transcribed and analysed with suggestions for use in the classroom. Finally the ngoma approach, the principles of Basic Education in Namibia, and the new arts syllabi are brought together by investigating some of the possibilities of music and dance as ngoma in schools. / Thesis (Ph.D.)-University of Natal, Durban, 1997.