This qualitative, multi-case study examined the process of lyric creation and nontraditional modes of communication (using themes from hip-hop and battle rap) as a mechanism for developing a teaching and learning strategy in STEM education. This manuscript style dissertation, examines the experiences of 24 postsecondary students and five battle rappers who created science-themed lyrics, used them as a learning strategy, and delivered content in a college and community setting. Insights into teaching and learning were revealed through the study of these lyrics from a constructivist and intellectual warrior theoretical framework. This research showed that as a result of utilizing battle rap, learning spaces were improved. Students’ interviews, lyrics, and reflections uncovered that they appreciated the opportunity to be more creative in class were more engaged, communicated and networked more than they did in their traditional science classroom. The battle rappers discussed and displayed the characteristics that allow them to engage audiences in hopes that teachers can learn how to incorporate engaging techniques within their own classrooms. Through interviews and a performance, battle rappers’ attempt to keep students engaged revealed their transparency; ability to freestyle; get hyped; and demonstrate charisma, presence, character, and energy. This information helped to explain, describe, and understand the experiences of both students and battle rappers and their potential relationships to science and the community. This work supports arguments for the use of culture (art/music/experiences) through music in the science classroom.

The purpose of this study is to show the close relationship of music education to the total elementary school program. The need for such a study has been recognized by many music educators since it is commonly conceded that music education has not been as effective in realizing the ultimate aim of all education as it could be if made a very intimate part of the total educational process. / Typescript. / "July, 1952." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Dora Skipper, Professor Directing Paper. / Includes bibliographical references (leaves 44-45).

"In this study, the term 'Instrumental' will be used to include not only the usual instruments of the orchestra and band, but also 'melody instruments' such as tonnettes, flutophones, and other similar ones. The piano will not be included in this study because there is less need for more literature for this instrument at the elementary level than for others"--Introduction. / "August, 1954." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music." / Advisor: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaf 46).

No description available.

Music has, at least to a certain degree, established itself among the subject matter of modern-day school curricula. Its position is probably most precarious in our Junior High School system. Although the Junior High is by no means a recent innovation, it is a controversial one. and is still somewhat in an experimental stage in many respects. Music instruction, particularly, is greatly affected by this profound influence upon the instructional work of the seventh, eighth and ninth grades that the Junior High division has given. John W. Beattie has put it the way:

Thesis (MA) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This study was undertaken with a view to evaluate the effect of music education on the self-concept of the learner with attention deficit hyperactivity disorder. Four learners diagnosed with attention deficit hyperactivity disorder were asked to participate in a music program presented for two terms by the researcher. The selfconcept of the learners was recorded through interviews and questionnaires by the learners and their parents before the study commenced. Observations by the researcher and objective observer were used to monitor the learners' progress during the course of the lessons. After the completion of the music program the learners and their parents were again asked to participate in an interview and to complete a questionnaire. This study revealed that music education is a great enjoyment to these learners and the self-concept and self-confidence of some of the learners improved. A literature review was done in order to obtain a perspective on attention deficit hyperactivity disorder. A historical overview provided insight into the development of this disorder necessary to describe it properly. The study also focuses on various intervention techniques which can be used by parents and teachers. In addition, the study focuses on the role of music education and music practice on the various developmental levels of the learner and how music can indeed affect relaxation and be responsible for lifelong learning. It is recommended that the learners continue with mUSIC education, because it provides them with a sense of success and it plays a vital role in the cognitive development of the learner. This, in tum, leads to lifelong learning: an influence that will remain an irrevocable part of the child for the rest of his/her life. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem met die doelom die uitwerking van musiekonderrig op die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteit te evalueer. Vier leerders wat gediagnoseer is met aandagafleibaarheid-hiperaktiwiteit is genader om 'n musiekprogram, aangebied deur die navorser, vir twee kwartale by te woon. Die selfbeeld van die leerders, wat vooraf deur middel van onderhoude en vraelyste deur die leerders en hulouers voltooi is, is geëvalueer. Die leerders se vordering is tydens die lesse deur middel van observering en objektiewe waarneming bepaal. Na afloop van die musiekprogram is die leerders en hulouers weer gevra om 'n onderhoud en vraelys te voltooi. Uit die studie blyk dit dat musiekonderrig 'n groot mate van genot vir die leerders is en daar was 'n verbetering in selfbeeld en selfvertroue by sommige van die leerders. 'n Literatuuroorsig bied insig oor die omvang van aandagafleibaarheid-hiperaktiwiteit en 'n historiese oorsig oor die verloop van die proses wat tot 'n beskrywing van die versteuring lei, word bekyk. Die verskeie intervensie-tegnieke wat deur ouers en opvoeders toegepas kan word, word bespreek. Verder word die rol wat musiekonderrig en musiekbeoefening op die verskillende ontwikkelingsvlakke van die leerder speel aangespreek, asook hoe musiek 'n ontspannende effek kan hê en verantwoordelik kan wees vir lewenslange leer. Dit word aanbeveel dat leerders volhou met musiekonderrig, omdat dit 'n gevoel van sukses verskaf en 'n belangrike rol speel in die leerder se kognitiewe ontwikkeling. Laasgenoemde is gevolglik verantwoordelik vir lewenslange leer: 'n onherroeplike invloed op die leerder vir die res van sy/haar lewe.

South Africa is engaged in social redress and Education at all levels reflects this commitment. The period of transition from the apartheid policy of the National Party, (1948 – 1994), to the democratic policy of the African National Congress and its alliances, (1994 - ), continues to be in a state of flux. Education authorities struggle to maintain a balance between widening access to previously disadvantaged students whilst maintaining standards at the same time. Much of the recent debate on good teaching and learning practices suggests that teachers not only need to have a firm grasp of their discipline knowledge but that they also need to perform competently in pedagogic practice. This debate recognises sociological change in knowledge-discourses, fair and transparent assessment policy, and teacher and learner profiles, thereby creating an urgent need for a new professional identity for teachers. Efficient and effective teaching practices require school teachers to be sensitive to innovative and wide ranging culture-sensitive content as proposed by the Revised National Curriculum Statement (RNCS). This is a refined version of South Africa’s first national education policy, C2005, introduced to schools in 1998 and streamlined in 2000 by the Review Committee of C2005 to produce the RNCS. Music now fits into Arts and Culture, one of eight integrated learning areas. The Generalist-Specialist Music Educator is a new identity meant to empower classroom trainee-teachers in primary and secondary education who are new to the discipline of music. The majority of the teacher-trainees who have elected to take the Music in Education module at the University of The Witwatersrand’s School of Education are admitted under discretionary rules, and as a consequence they have little or no experience of formal music education. The Generalist-Specialist Music Educator comes from such a background and her aim would be to fast track her way towards a music orientation that would equip her to advise her own students who might want to learn music at school. Specifically, the Generalist-Specialist should enhance the open relationship between learner and teacher as well as contribute effectively to the multidisciplinary nature of today’s school curriculum.

This qualitative case study, set within the sociocultural field of education, examined how intervention music lessons over the duration of one school year may have shaped the development of two seven and eight year old children presenting with social, emotional and behavioural difficulties. The students in the context of this research were selected from mainstream classes due to the emotional and behavioural difficulties they had exhibited. Through analysis of field notes, student iPad diaries and formal and informal interviews, an exploration into the impact of active and collaborative music learning and teaching on the social, emotional and behavioural learning of these students took place. The music learning and teaching was based around Eun’s (2010, p.405) socioculturally informed instructional model, which offers eight interrelated principles for instruction, namely that they should be: mediated; discursive; collaborative; responsive; contextualized; activity-orientated; developmental; and integrated. In examining the social and emotional development of these children during the music lessons, the emergent findings suggested that the intervention classes positively benefitted the children’s development in three main thematic areas, namely in personal competence, task competence and social competence. Although both children responded to the intervention music lessons in strikingly different ways, key findings highlighted substantial increases for both children in their self-esteem, possibly due to their success and achievements in music. The second pertinent finding was that the duration of the intervention programme itself was an important factor, with substantial increases being made in their affective development by the late research phase. Overall, this study highlighted the prominence of achievement in student’s affective development and I suggest that utilizing music as a vehicle for accomplishment for children presenting with SEBD, is a potentially powerful and influential resource.

This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented. Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades. As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm. The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools. The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.

In New South Wales education, music is a mandated primary school subject incorporated in the key learning area of Creative Arts. In secondary education, music is typically a mandatory Stage 4 subject and an elective subject choice in Stages 5 and 6. School music syllabuses include singing as a performance experience. The methodology and appropriateness of teaching children and adolescents to sing are issues expressed in the literature. Research and scientific based understanding of the voice clearly indicate that care should be taken when teaching singing to developing voices. These reasons, together with the presumption that all students will sing at some stage during their schooling, invoke the primary research questions of “who teaches school singing?”, “what types of school singing are taught?”, “how is school singing taught?” and “why is school singing taught?”. Through an investigation and analysis of teacher perspectives, this study addresses these questions in relation to teaching singing in Sydney government schools. The research is comprised of two parts. Part 1 was a broad-based questionnaire approach that generated qualitative and quantitative data. By encompassing primary and secondary classroom and/or choir teachers (127 respondents), school singing within a continuum of learning was investigated. Part 2 extended the format and focus of Part 1 by undertaking qualitative in-depth interviews of teachers (10 participants) sampled to investigate a range of key issues and school singing cultures. The study found that school singing at primary level was predominantly taught by generalist classroom teachers. A range of primary specialist teachers - dedicated music and/or choir specialist teachers, designated music and/or singing specialist teachers and dedicated performing arts specialist teachers – was identified as also teaching school singing activities. Secondary classroom music teachers were those found to teach, either solely or in conjunction with singing tutors, secondary school singing. The study determined that school singing was an activity occurring in conjunction with music syllabuses (syllabus singing), in relation to other syllabuses (co-syllabus singing) and irrespective of syllabus connections (non-syllabus singing). In addition, ancillary syllabus singing linked singing activities occurring outside the music classroom to syllabus singing within the music classroom. Co-syllabus singing was identified as being either thematic (illustrating a topic area) or supplementary (reinforcing learning in a non-musical area). In addition to defining the types of school singing in relation to both primary and secondary syllabuses, there was evidence of a dichotomy in school singing between teaching singing (formal singing) and the teaching of, or inclusion of, singing activities (informal singing). Determining whether students were taught a song or taught how to sing (it) in Sydney government schools, formed one of the major areas of impetus and focus for the study. After identifying 19 components present in respondent data at elemental or proficient levels, comparison and inclusion rates of teaching components were used to determine five levels of respondent teaching approaches - sing-along, song, song dominant, functional and developmental. Descriptive statistics and univariate statistical analysis of components revealed that component inclusion increased as the level of teaching approach increased. Independent-sample t-tests showed that there were significant differences between approaches to teaching school singing and the types of teachers who teach school singing (for example between specialist/non-specialist teachers). Contributory factors of school singing were identified as support for school singing, objectives of school singing, aptitude for school singing and constraints that restricted school singing. The types of school singing found their origins in the purposes of the singing activities. In some cases, the school culture also determined the types and purposes of school singing. Where school singing was established within the school culture, singing activities were reported as being well supported and the school culture was such that it encouraged or even enabled singing activities to occur. Conclusions drawn from the research findings have implications for the pre-service and in-service training of teachers, for those responsible for school singing activities and for those writing curriculum, curriculum related documents and teaching resources. / Doctor of Philosophy (PhD)