The study of music has long been seen as élitist in South African education, a ‘talent’ subject rather than an academic one. The country’s political history has played a significant role in this perception. Under the apartheid government, education in the arts was considered appropriate only for gifted, mostly white, students and a grossly inequitable distribution of resources placed the study of music beyond the reach of most students. The ANC government has declared educational reform a priority, but faces enormous challenges in redressing inequities of the past. This study examines the relevance and academic rigour of music curricula past and present, in the light of political influences; and the challenges that face schools and education departments in sustaining growth and development of music as an academic subject, accessible to all at senior secondary school level. / Music / M. Mus.

Der Beitrag klärt die Verwendung und Bedeutung des Begriffs der Praxis in der musikdidaktischen Literatur. Zunächst werden hierfür die Praxisbegriffe der deutschsprachigen Autoren H. J. Kaiser, J. Vogt, Ch. Wallbaum und Ch. Rolle sowie der englischsprachigen Autoren Th. A. Regelski, D. J. Elliott und Ch. Small anhand relevanter Primärliteratur herausgearbeitet und dargestellt. In einem zweiten Schritt werden die Theorien und Modelle jeweils auf ihre didaktischen Implikationen hin untersucht und ihre Eignung für die Umsetzung im Hinblick auf eine reale Lehr-Lern-Situation eingeschätzt. Schließlich werden die Praxisbegriffe der sieben behandelten Autoren in Relation zueinander gebracht, Gemeinsamkeiten und Unterschiede aufgezeigt. Entsprechungen bezüglich des Verständnisses von Praxis werden konstatiert insbesondere zwischen Regelski, Kaiser und Vogt einerseits, sowie zwischen Small, Elliott, Wallbaum und Rolle andererseits. Erstere rekurrieren auf aristotelische Begrifflichkeiten und fokussieren den ethischen Aspekt einer praxis, das „richtige“ Handeln bzw. „gute“ Leben; Letztere stellen die durch musikalische Praxis mögliche (positive) Erfahrung des „flow“ (Elliott), des Ästhetischen (Rolle; Wallbaum) bzw. idealer Beziehungen (Small) in den Mittelpunkt ihrer Betrachtungen. / This work discusses the use and meaning of “praxis” (practice) as a technical term in music education literature. Relevant texts of the German-speaking authors H. J. Kaiser, J. Vogt, Ch. Wallbaum, and Ch. Rolle as well as of the English-speaking authors Th. A. Regelski, D. J. Elliott, and Ch. Small are analyzed and compared in terms of the authors’ understanding of “praxis”. Similarities are identified among (1) the work of Regelski, Kaiser, and Vogt and among (2) the work of Small, Elliott, Wallbaum, and Rolle. While the former group of authors refers to Aristotelian concepts and focuses on the ethical aspect of praxis, the latter group reflects the (positive) experience of “flow” (Elliott), the experience of the aesthetic (Rolle, Wallbaum), or the experience of ideal relationships (Small) – each possible through musical practice (or rather “praxis”).

Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht. / The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

Der vorliegende Text verbindet drei Dinge: einen V e r g l e i c h von Bildungsgängen für Musiklehrer an allgemein bildenden Schulen in Europa, den B e r i c h t von einem viel versprechenden „Intensive Programme" mit dem Titel „Schoolmusic in a European Perspective" und den E n t w u r f einer Musiklehrer-Typologie, die den Vergleich verschiedener europäischer Situationen von ‚Schoolmusic‘ erleichtern soll und die über den bloßen Vergleich von Curricula hinaus geht. / The article combines three things: A c o m p a r i s o n of policies of European teacher-education for music at general schools, a r e p o r t about a successful intensive programme for six countries called “Schoolmusic in a European Perspective” and the d r a f t of a typology of music-teachers, which condenses more aspects than a policie of music-teacher-education only. The typologie should help to compare the situation of schoolmusic in different countries of Europe.

The thesis is focused on creating a test battery for the sense of rhythm assessment for university students in the field of Physical Education and sport. Music-sports practice lacks such tests and so far it is forced to use only tests designed for the music field. The structure of the new tests corresponds to the characteristics of the sense of rhythm from the point of view of music psychology. The tests are divided into three sections, which are Perceptual Skills and Activities (items 1 to 18), Reproductive Skills and Activities (items 19 to 27) and Production Skills and Activities (item 28). The Classical test theory (factor analysis) and Item response theory (two-parametric model) were used for the statistical processing of results. The methods also included the calculation of the reliability and validity of the test. The expected refusal of the proposed hypothesis was confirmed in both the classical test theory and item response theory. The exception was model 4, whose fit indexes, especially TLI = 0.537, showed a lack of evidence for the refusal of the hypothesis rather than for a perfect fit of the model with the data. The aim of the research was to compile and test models whose conformity with the data would be the best. The most favorable conformity was for model No. 1 and No. 5. Model 1...

This paper critically goes through the sources, the Swedish curricula in music published between 1962 and 2011.Through tools as discourse analysis and deconstruction it derives key expressions, checks for values and possible hierarchies between keywords relating to genre and other emphasized concepts related to the music curricula. The study pays special attention to the position of musical craft and esthetical values in the various documents. A starting point for problematization is Jacques Derrida's expression "monolingualism" where the owner, recipient and purpose of the narrative are made visible. The theoretical perspective consists of political ideology as the origin of the curricula within the education system. The analysis is based on theory and method from Michel Foucault, Jacques Derrida, Giovanna Borradori and Zygmunt Bauman. Theory and method are used in the search and evaluation of wordings that reveal impact from political ambitions in the Swedish music curricula. A comparative analysis of the result concludes the study and withdraws conclusions and suggestions for future studies.

In dem Beitrag wird von der Frage ausgegangen, ob oder wie in den zur näheren Betrachtung zur Verfügung gestellten Musikunterrichtsstunden ‚Musik gelernt‘ wird. Dabei wird zunächst entfaltet, auf welchen Begriff von Lernen und von Bildung Bezug genommen wird, bevor vor diesem Hintergrund Beobachtungen an zwei Schulstunden gefasst werden. Ansatzpunkte sind dabei musikalische oder musikbezogene Handlungen, z.B. das Einüben von instrumental-musikalischen Fertigkeiten, sprachliche Einbettungen musikalischen Tuns, die Verwendung von Begriffen, Interaktion, Selbststeuerung und Selbstbezüglichkeit der Lernenden sowie Reflexivität als Teil des Lernens. Gezeigt wird, dass aus musikalischem und musikbezogenem Handeln Bildungspraxis werden kann, wenn dabei musikalische und musikbezogene Vorstellungen und Bedeutungen hervorgebracht werden. / The article is based on the question, if or how music is learned in those music lessons which were available for closer analysis. In order to observe this, the specific meaning of learning and education is explored, before the descriptions of two schoollessons are being made. Starting point for the observations are the musical actions and the activites related to music, e.g. practicing instrumental skills, the verbal embedding of it, the use of terms, interaction, self-monitoring, self-organisation, self-referentiality or reflexivity as part of learning-situations. The observations indicate that actions in or on music could become part of education and culture, if ideas, connotations, meanings and significances were generated.

The purpose of this research was to test a strategy which uses music-related concepts to teach math. A quasi-experimental study of two high school remedial geometry sections was conducted during a review lesson of ratio, proportion, and cross multiplication. A pretest was given to both groups. Then, Group A received normal textbook instruction while Group B received the treatment, Get the Math in Music, which is an online activity involving proportional reasoning in a music-related context. Afterwards, a posttest was given to both groups. Pretest and posttest scores were used to compare gains in subject knowledge between the groups. Then a second evaluation of the treatment was conducted. Group A received the treatment and took a post-posttest. Score gains for Group A before and after receiving the treatment were compared. After these tests, all participants took a survey to determine if their appreciation of math grew as a result of the treatment. Finally, interviews were conducted to provide better understanding of the results. The research questions of this study were: to what extent does the integration of Get the Math in Music improve students' academic performance in a remedial geometry review of ratio, proportion, and cross multiplication, and to what extent does participation in the Get the Math activity improve students' attitudes towards math? My hypotheses were that students would perform significantly better on a subject knowledge test after receiving the treatment, and that all students would have a more positive attitude towards math after receiving the treatment. Quantitative results did not triangulate to support or refute these hypotheses. Greater improvement from pretest to posttest was statistically correlated with Group B, which was the group first receiving the treatment. But later, between posttest and post-posttest Group A did not show statistically significant greater gains after receiving the treatment. Surveys results showed that students did not necessarily like math any more after the treatment. Interviews revealed that several of these students were apathetic to geometry in particular, if not to math in general. The case of one student's improvement suggested that positive teacher-student relationships are more effective than any particular method to increase academic performance and student engagement. Survey results were consistent with earlier psychological studies claiming teenagers care about music. Additional studies in the future on the merits of using music to teach high school math would be useful. Claims that proportional reasoning is challenging were supported. It would be beneficial to evaluate the treatment in an Algebra or Pre-Algebra setting when students first study proportions.

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Much scientific research has been conducted to examine the effects of music on the brain and abilities of people. The results have shown a positive correlation between music used in various ways and the abilities and skills of people, especially children. However, the use of music in the general intermediate classroom is lacking. After reviewing scientific research to provide a foundation for the study and synthesizing the five Music Integration Practices, two teachers were interviewed and observed on their use of music in their general intermediate classrooms. The interviews, observation checklists, and anecdotal notes taken by the researcher provide music activities and rationales for the use of music in the classroom, as explained by the participating teachers.