The first purpose of this study was to determine whether a statistically significant difference is observable between the effects of instructional gaming activities techniques and the effects of traditional lecture-demonstration techniques on the cognitive achievement of undergraduate university students enrolled in introductory music studies courses. The second purpose was to determine whether students evidence a statistically significant difference in their affective perceptions of these two teaching techniques when applied to university introductory music studies.Four null hypotheses were tested:H 0/1: At the conclusion of a five week experimental period, no significant difference (at the .05 level) will be evident between the experimental group (gaming techniques) and the control group (lecture demonstration techniques) on the posttest measure of cognitive achievement.H 0/2: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of cognitive achievement.H 0/3: At the conclusion of a five week experimental period, no significant difference will be evident between the experimental and control groups on the posttest measure of students' affective perception of the teaching techniques of their respective classes.H 0/4: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of students' affective perception of the teaching techniques of their respective classes. The research population consisted of 147 students representing each of the four years of university matriculation. Both the experimental group and the control group consisted of students enrolled in one class of a 100-level introductory course in music studies for the general university student ("music appreciation"), and in two classes of a 300-level course in introductory music studies for prospective elementary classroom teachers. Five experienced university instructors taught the six classes involved. A syllabus that included nine sequenced instructional gaming activities was designed specifically for use in the experimental classes.A 2 x 2 nonequivalent control group design was adopted to facilitate pair-wise analysis of mean scores. The experimental and control groups were statistically equated on the basis of College Board Scholastic Aptitude Test verbal and mathematical mean scores and cognitive achievement pretest mean scores. Posttest and delayed interval posttest cognitive achievement adjusted mean scores and affective perception observed scores were obtained. Significance of the treatment variable was determined by means of analyses of variance and covariance.Based on statistical findings, H 0/1 was rejected at the .05 level of significance at the 100-course level. Conversely, H0 was supported at the 300-course level. In other words, at the 100-level, findings of the posttest showed that students taught by means of gaming techniques attained a significantly higher level of cognitive achievement than students taught by means of lecture-demonstration techniques. At the 300-level, findings of the posttest showed that students taught by means of gaming techniques evidenced no significant differences in cognitive achievement compared with students taught by means of lecture-demonstration techniques. H 0/2 was rejected at the .05 level of significance at both the 100- and 300-course levels, but findings differed between course levels. At the 100-level, the class taught by means of gaming activities evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the class in which lecture-demonstration techniques were applied. At the 300-level, classes in which lecture-demonstration techniques were applied evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the classes taught by means of gaming activities.H 0/3 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a posttest measure of students' affective perception.H4 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a delayed interval posttest measure of students' affective perception.The findings of this study appear to support the following conclusions:1. The gaming activities developed for this study are an effective means by which to promote cognitive learning in university introductory music studies.2. The student population of this study strongly preferred gaming activities over lecture-demonstration as the teaching technique in university introductory music studies.

The study was designed to determine the scope of offerings, the clientele served, the organizational structure, and procedures for implementation relative to applied music programs in two-year colleges. The study was also designed to determine the extent to which selected senior colleges have accepted applied music credits earned by students from two-year colleges.

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All children have the capacity to express themselves musically and to have music be an important part of their lives. In most states classroom teachers in the primary grades are expected to provide all instruction in music, often without supervision or assistance. The idea of the classroom teacher teaching music is not new. This has been a pattern of musical instruction in the elementary schools throughout the history of our country. Teachers cannot teach material they do not know and in which they are not interested. Most classroom teachers welcome new ideas and attractive materials for use in teaching music to children in their classrooms. This dissertation presents a pattern of musical preparation for prospective primary classroom teachers based on an eclectic approach which focuses on the selected pedagogical principles of Kodály, Orff, and Dalcroze. The main body of the dissertation consists of a two semester sequence of instruction organized in thirty lessons based on a vocal approach and emphasizing movement. It includes resource materials such as lists of books on the teaching of music and dance, recordings, films and filmstrips, and song collections. More than 100 songs are used in a variety of ways as are rhymes and movement activities.

The sociological and psychological literature reveals that the parents and the home may be the most important determinants in the development of interests and attitudes in the life of the child. Research in music education has contributed very little to show the effect of environmental conditions, such as different patterns of home life, on music education in the schools. Researchers in music education have, however, revealed the need to study the musical home background of the child. This study investigated the musical behaviour of parents from three subcultures, urban, suburban, and rural-farm, and tested the attitude parents have toward the musical education of their children. A questionnaire was constructed to gather the data in a face-to-face situation. There were 133 subjects in the sample. The method of paired comparisons was employed to measure the respondents' musical preferences toward six types of music. A Likert-type attitude scale was constructed to test parental attitudes toward a musical education for children. The questionnaire was tested for reliability and validity and considered adequate. These general conclusions were reached. No large or consistent differences were found between the urban, suburban, and rural-farm groups of parents with regard to their musical interests, activities, and preferences, as well as their attitude toward a musical education for children. However, some differences emerged. The mothers from the three areas seem to attach more importance to musical activities such as attending concerts or playing a musical instrument than do fathers. The analysis of the data showed that the relative preference for Folk Music versus Light Classical Music seems to differentiate the three groups, of parents. Rural-farm parents seem to prefer Folk Music more than Light Classical Music, whereas urban and suburban parents seem to prefer Folk Music less than Light Classical Music. The attitude test revealed another significant difference. Suburban mothers seem to differ from suburban fathers in their mean attitude toward a musical education for children. The mean attitude of suburban fathers appears to be lower than that of the mothers. With the exception of the noted differences, it seems that neither socio-economic position nor geographical location differentiate urban, suburban, or rural-farm parents in regard to their (1) musical interests, activities, and preferences, as well as their (2) attitude toward a musical education for children. This conclusion is, in part, not in conformance with the findings of earlier studies, which reported that musical preferences of adults appear to be very much influenced by socio-economic position and also by geographic location. The parents' reaction to the eleven statements of this study's attitude scale was such as to permit the following conclusion. It seems that a high proportion of urban, suburban , and rural-farm parents (possibly 80 to 90 per cent) have a favourable attitude toward a musical education for children. The "neutral" responses by nearly half the sample to an attitude statement about music education not receiving it’s due in our public schools suggest that many parents are unaware of what is happening in the elementary school classroom in regard to music education. Listening to music appears to be a very highly preferred leisure activity for a high proportion of urban, suburban, and rural-farm parents. Music on the radio, television musical programs, and records tend to be the most often utilized sources of listening to music, but many parents, probably 60 per cent or more, listen to music at concerts, recitals, musicals, operas, operettas, etc. either frequently or occasionally. / Education, Faculty of / Graduate

This study was undertaken to determine whether or not young childrens’ preferences for contemporary art music, through participation in a classroom music program emphasizing creativity, can be altered. The students participating in this experiment were the grade three class at Vancouver College, a private boys school in Vancouver, B.C., where the researcher was employed as music instructor for the 1969-70 school term. A music preference inventory was given to the students prior to initiating the classroom program. The inventory consisted of the following eight selections chosen by the researcher as representative of various twentieth century compositional styles: "Ionisation" - Edgar Varèse; "Akrata" - Iannis Xenakis; "Gesang der Jünglinge" - Karlheinz Stockhausen; "Visage" - Luciano Berio; "Le Marteau sans Maȋtre" - Pierre Boulez; "Piece for Four Pianos" - Morton Feldman; "Five Pieces for Orchestra, Op.16" - Arnold Schoenberg; and, "Cantata No. 1, Op.29" - Anton Webern. Students marked their preference on a graphic rating scale of five divisions. The researcher later superimposed a twelve-point scale over the test-scale, in interpreting the scores. Following this pre-test, the students participated in a twelve-week classroom music program which stressed rhythmic improvisation, composition in twelve-tone technique, percussion pieces, exploration of sound sources, etc. The program was designed by the researcher based on work by Carl Orff, Zoltan Kodaly, R. Murray Schafer, Peter Maxwell Davies, Richard Addison and George Self. At the end of the program the same preference inventory was again administered to the students as a post-test. Final scores were interpreted by means of a two-tail test. Only one selection showed a change in preference (in this case, an increase) at a statistically significant level of five per cent. Stockhausen's "Gesang der Jünglinge" attained a critical ratio of 5.34. Certain limitations were recognized: 1) the small sampling of students (twenty-two); 2) the relatively short duration of the experimental part of the study (twelve weeks), and 3) the lack of any control group. The researcher therefore concluded that, within the severe limitations of this study, his hypothesis was invalid: that participation in a classroom music program stressing creativity will alter a grade three student's preference for contemporary art music. / Arts, Faculty of / Music, School of / Graduate

Changes occurring in the educational system of Ghana since independence in 1957 have been many and varied. The recent inclusion of the Cultural Studies program as part of the compulsory core curriculum is an example of such a change. The Cultural Studies program was designed to nurture cultural awareness and appreciation in the Ghanaian school child through music, drama, religion and social systems. The focus of this study was Music in the Cultural Studies program. The approach of the music teacher to music teaching and learning determines the successful realization of the curriculum. Music teaching strategies employed in Ghanaian elementary schools are many and varied. The content of the curriculum the teacher has to work with also enhances the realization of the program objectives. The purpose of this study was to identify and describe music teaching strategies and their degree of use in Ghanaian elementary schools and also offer suggestions for improving music instruction drawing on Ghanaian indigenous methods of music education, the Orff-Schulwerk, and Kodály pedagogy. In a survey involving fifty-six music teachers from five of the ten regions of Ghana, the researcher drew the following conclusions: a) the most frequently used teaching strategies included singing games, vocables, solfege, speech and poetry, movement and dance. b) there was evidence to suggest that the music teaching strategies of teachers are not related to their regional location, district, gender, teaching experience, or academic qualifications. c) It is feasible to combine the approaches of the Kodály pedagogy, the Orff-Schulwerk, and Ghanaian indigenous forms of music education in the development of a curriculum framework aimed at improving music instructional methodology in Ghanaian elementary schools. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The purpose of this qualitative study was to investigate the processes in which eight and nine year old children engaged as they composed generative expressions with music and language. This study was a classroom-based ethnography conducted by a teacher/researcher in the context of her own general music classroom and the home room of the participant students. Twenty-one boys and girls in a suburban grade three class were involved in this four and one-half month study; three children were chosen as target (focus) composers. This study was designed so that the primary voice and point of view was that of the student-composers rather than that of the adult teacher/researcher. To that end, methodologies for data collection and interpretation were flexible and emergent, to allow for inclusion of unexpected events, interactions, foci/directions, etc. and to ensure that student-composers' self-described decisions about their work were at the forefront of the discussion and interpretation of the data. A framework was devised to inform and clarify the teacher/researcher's understanding of what the children were doing as they composed. This framework provided a flexible structure for organization and illustration of data used for interpretive purposes. Data collected included: 1) journals, written self evaluations and in-process verbal critiques by all students 2) video-tapes of focus composers in: a) working sessions b) reflective discussion with the teacher/researcher 3) video-tapes of all students in: a) in-process sharing/critiquing sessions b) final performances of compositions 4) field notes of the teacher/researcher, including observations, informal conversations with student-composers, and observations and comments of the home room teacher. Findings from this study included these insights: 1) For these child-composers, process and product were intertwined throughout the making of their compositions; 2) These child-composers began with a holistic idea of what they wanted to do and proceeded to explore, revise and polish their compositions in the particular medium until they reached their self-determined goal; 3) Socio-cultural factors of informal (enculturated or acquired) learning, and general maturity, were primary influences in decision-making in compositions with both music and language; 4) Training made a difference in the baseline starting point in composing ability, attitude, speed of the compositional process, and expectations for the final product; 5) These eight and nine year old children, untrained in music, demonstrated that they could compose rather than just improvise; 6) These child-composers went through the same four processes of exploration, making choices, editing/drafting, and completing a coherent product, when composing in two different modalities; they engaged in these processes recursively as well as sequentially in both media. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The purpose of this study was to describe the current state of sight-singing pedagogy in choral ensembles at degree-granting institutions in the United States accredited by the National Association of Schools of Music. A survey of collegiate choral conductors was designed and distributed nationwide. In total, 33.3% (N = 363) of those invited to participate responded. Substantial data were collected from conductors who indicated they occasionally integrated a sight-singing system into their choral rehearsals for specific purposes (n = 137) and those who indicated they frequently used a sight-singing system as a key rehearsal tool (n = 114). In addition, interviews with three survey participants were conducted for a more in-depth examination of their unique philosophies and practices. Survey data revealed that there was no significant difference between the number of choral conductors who did not use or very rarely used a system for music-reading, those who occasionally integrated a sight-singing system into their rehearsals for specific purposes, and those for whom a sight-singing system was a key rehearsal tool that they used frequently. However, among respondents in the latter two categories who did not hold a degree in music education, there was a significant (p = .018) preference for occasional rather than frequent use of a sight-singing system. Among those who occasionally or frequently used a system there was a significant preference for movable-Do solfège for major-key tonal solmization (p < .001), movable-Do solfège (tonic is "La") for minor-key tonal solmization (p = .001), and instrumental counting ("1-e-&-a 2") for rhythmic solmization (p < .001). Among those who frequently used a system, the data showed a significant decline in both the number of days per week they provided sight-singing instruction at the beginning of term, at the middle of term, and at the end of term (p < .01) as well as between the number of minutes per rehearsal they provided sight-singing instruction during those three periods of the semester (p < .01). Among those who frequently used a system, choral literature being prepared for performance was the significant first-choice, selected by 88%, of materials used to teach sight-singing. Among the same participants, 14% individually assessed their students' sight-singing, 44% sometimes did, and 43% did not. For conductors who frequently used a system, the most important perceived benefit of doing so was enabling their choirs to learn music faster. The attitude statements about which conductors agreed most strongly were that sight-singing ability is an important skill for all collegiate choral singers and that sight-singing ability should be a prerequisite for auditioned collegiate choral ensembles. Conductors who occasionally used a system agreed significantly more strongly with the latter statement than those who frequently did (p < .04), while conductors who frequently used a system agreed significantly more strongly with the statement that students generally enjoy instructional time devoted to sight-singing than those who occasionally did (p < .001). Music educators felt significantly stronger that empowering their students for lifelong music-making and improving performances were benefits of systematic sight-singing instruction than non-music educators did. Conductors contacted for interviews emphasized the importance of fostering choral rehearsal cultures in which complete musicianship and musical literacy are valued and provided philosophical and practical reasons for doing so. They outlined possible challenges to instituting choral sight-singing at the collegiate level as well as potential solutions to those difficulties. They also discussed the effects of sight-singing instruction on relationships with music theory and music education faculty. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2015. / July 17, 2015. / literacy, music, reading, sight-singing, solfege / Includes bibliographical references. / Judy Bowers, Professor Directing Dissertation; David Okerlund, University Representative; Alice-Ann Darrow, Committee Member; André J. Thomas, Committee Member.

This study explored the educative impact of a music study abroad program, specifically, what role music plays in encounters between students from diverse cultural backgrounds, and how such programs can help shape the identity of a global citizen and lead to a more socially just global community. If programmatic efforts can be impactful, preparing young people for life in a more interdependent, complex, and fragile world, then how can such values be informed, fostered, and even stimulated by engaging in international music travel? How is “difference” experienced and rendered meaningful? This qualitative case study followed U.S. music and music education students on a trip to Malaysia where they collaborated with Malaysian peers in bamboo instrument-making as well as music-making in traditional Malay styles. Perspectives, commentary, and reflections of and by all participants were recorded and investigated. Pre-trip interviews were conducted two months prior to embarking on the international trip. During the program abroad over the course of three weeks, I interviewed four U.S. music students, five Malaysian music education students, and both a U.S. and Malay music professor. Additionally, a focus group was conducted with the Malay student-participants. This study posited two primary benefits to studying music abroad and then analyzed data that would illuminate to what degree these benefits were achieved. The first of these benefits is the well-known enhancement in broader experience and new knowledge that will inform students’ practice and musical life going forward. The second class of benefits has to do with building agency as global citizens, along with an appreciation of the entailed challenges. The interaction between visitors and residents, between students and a diverse cohort of educators, all begin to construct a sense of interconnectedness that goes far beyond the accumulation of musical knowledge. The findings substantiated the initial hypotheses and created new avenues of inquiry as well. One finding that went beyond the original scope of the study was that in reflecting on their experiences, participants began to build on a sense of global citizenship and a broadened civic consciousness. This in turn leads to investigations into the broader definition of education itself.