Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The Department of Music at Stellenbosch University (SU) established the Certificate Programme in Music (CP) in 1999. The programme was created to fulfil a multi-faceted role that would equip potential students who display a high level of musicality, but do not fulfil admission requirements to music studies at Higher Education level. Initially, the programme was targeted at previously disadvantaged individuals who had had no opportunity to receive formal music tuition. Thereafter, the balance shifted to include all students with diverse cultural backgrounds but with no or insufficient prior musical tuition. Problems experienced by universities globally include growing numbers of students displaying lower levels of academic literacy and the number of potential music students who have not reached the standard required on their instruments or in music theory. Changes to programme content were made as courses were adapted; an example is the Higher Certificate in Music which will soon be a university-accredited qualification. A preparatory course in Music Technology was created for musicians already involved in the music industry, wanting to upgrade their skills or prepare themselves for admission to the BA with Music (Route: Technology) degree. The objective of this research endeavour was to launch an in-depth investigation into all aspects of the CP. The grounded theory approach of Strauss and Corbin (1990) formed the foundation to the study. Data consisted of records from the CP, interviews and questionnaires. The research design was based on the conditional matrix of Strauss and Corbin (1990). CP data was compared to national policies governing Higher Education, to SU policies regarding community interaction, and to SU's strategic framework. Categories for investigation included concepts such as motivation, self-regulation, service learning and the development of emotional intelligence in students. Change theories were explored as a theoretical framework for the CP to cope with the ever-changing landscape of high school education. Establishing partnerships which are mutually beneficial to the community and the university is listed as an important component of the community interaction policy at SU, and was found to be a significant component of the CP. / AFRIKAANSE OPSOMMING: Die Departement Musiek by die Universiteit van Stellenbosch (US) het die Sertifikaatprogram in Musiek (SP) in 1999 gevestig. Die program is ontwerp om 'n uiteenlopende rol te vervul vir voornemende musiekstudente wie musiektalent toon, maar wie nie aan die nodige toegangsvereistes voldoen om musiekstudie op Hoër Opvoedkundige vlak te neem nie. Aanvanklik was die program gemik op voorheenbenadeelde persone wat nie die geleentheid gehad het om formele opleiding in musiek te ontvang nie. Daarna het die behoefte verskuif deur studente uit verskeie kulturele agtergronde, wie nie vorige musiekopleiding gehad het nie, in te neem. Wêreldwyd ervaar universiteite onder andere probleme met studente wat toenemend laer vlakke van akademiese geletterdheid toon, asook met die groeiende getal studente wat nie die nodige vlak in prakties sowel as musiekteorie bereik nie. Veranderinge is aangebring in die program en kursusinhoude is gewysig om verdere opleidingsmoontlikhede te bewerkstellig; die Hoërsertifikaat in Musiek is een voorbeeld – dit sal binnekort 'n universiteits-geakkrediteerde kwalifikasie wees. 'n Voorbereidende kursus in Musiektegnologie is spesiaal geskep vir kandidate wat reeds in die musiekbedryf is, of wat voorbereiding vir toelating tot die graadkursus BA met Musiek (rigting: Tegnologie) nodig het. Die doelwit van hierdie navorsing is om ʼn deeglike ondersoek in alle aspekte van die SP na te gaan. Strauss en Corbin (1990) se gegronde teorie was die uitgangspunt vir hierdie ondersoek. Die data bestaan uit aantekeninge van die SP, onderhoude en vraelyste. Die navorsingsontwerp is gebaseer op die voorwaardelike matriks van Strauss en Corbin (1990). Die SP se data is vergelykbaar met die regering se nasionale beleid met betrekking tot Hoër Onderwys, sowel as die US beleide sover dit betrekking het op die gemeenskapsinteraksie en die strategiese raamwerk van US. Kategorieë wat ondersoek is, sluit onder andere konsepte soos motivering, selfgereguleerde, diensleer en die ontwikkeling van emosionele intelligensie in. Die vestiging van vennootskappe met wedersydse voordeel vir beide die universiteit en die gemeenskap is aangewys as 'n belangrike komponent van die gemeenskapsinteraksie beleid by US. By hierdie ondersoek is vasgestel dat dit ʼn groot komponent van die SP is.

The singer faces some significant challenges in learning to read music, namely that their instrument has no physical domain for pitch and they must sing two languages simultaneously. When those challenges are combined with the fact that they often arrive in college with less well-developed literacy skills compared with instrumentalists, and that musical literacy instruction is often linked immediately with theoretical analysis before literacy has been established, it is not surprising that singers graduate with graduate degrees with poor musical literacy skills. Using principles of second language acquisition and reading theory, this paper seeks to present a case for the separation of theory and literacy in college curricula, and proposes that such a development will not only see the musical literacy skills of singers improve, but can be seen as the foundation for the connection of performance and theoretical streams of musical study in higher education.

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.

I denna studie undersöks och jämförs hur rytmisk notläsning med barn, 5–8 år, framställs i vetenskapliga texter under 2000-talet. Fokus för studien är vilka strategier som skildras men även forskning om vilka effekter notläsning kan ha på läs- och skrivutveckling refereras. För att besvara studiens syfte och frågeställning används metoden allmän litteraturstudie med systematisk ansats samt en informell intervju med tre forskare inom neurologi. Fyra vetenskapliga artiklar är inkluderade i studien. Alla har granskats kvalitets- och kunskapskritiskt. Den vetenskapsteoretiska ansatsen för studien är kulturhistorisk men min långa bakgrund som rytmikpedagog, skolad och erfaren i Dalcroze-metodik, är den vinkel jag oundvikligen betraktar resultatet ur. Ett av studiens resultat är att ämnet inte ägnats någon större uppmärksamhet från forskare under 2000-talet och det därför finns mycket att göra för att utveckla praxis. De huvudsakliga resultaten i de studerade artiklarna är att a) barn tenderar att prioritera tonhöjd framför rytm i notbilden, b) underliggande puls på rytmens minsta värde, snarare än puls som motsvarar taktens värde, förenklar för notläsningsförmågans utveckling, c) god notläsning kräver tidigt utformade strategier snarare än övning och d) rytmisk notläsning kan utvecklas på ett likartat sätt som läs- och skrivförmåga och bör stödjas ur det perspektivet med aktiviteter som innefattar ljuda, skriva och läsa. I intervjudelen framkommer bland annat att rytmisk träning kan främja tal- och skriftspråklig utveckling men att det inte förekommer några direkta transfereffekter mellan läsning och notläsning. / In this study, the 21st century scientific literature addressing rhythmic music reading in children aged 5–8 is explored and compared. The described strategies are the main focus of the study but research on music reading´s effect on the development of reading and writing skills is also discussed. In order to meet the purpose of this study and answer the scientific question, the methods general literature study with systematic approach together with informal interviews with three neurology-scientists, are applied. Four scientific articles are included in the study. They were all thoroughly reviewed from a quality- and knowledge perspective. The scientific theory used for this study is Vygotskij´s cultural-historical psychology but my own background as a teacher of eurythmics, educated and experienced in Dalcroze´s methodology, is inevitably the light in which I view the results of this study. One of the study´s results, is that this subject did not yet render much attention from researchers during the 21st century, leaving a lot of room for further development of practice. The main results of the studied articles are that a) children tend to prioritize tone before rhythm when reading notated music, b) underlying beat on the shortest note-duration in the rhythm, rather than beat that corresponds to the “worth” of the bar, simplifies the development of music reading skills, c) accomplished music reading demands early developed strategies rather than practice and d) rhythmic music reading may develop in a trajectory similar to that of language and literacy acquisition and should be fostered within that perspective through all of the following: oral and aural exercises, writing and reading. The interview-section shows, amongst other things, that rhythmic training may promote the development of articulation and writing, but there are no direct transfer effects between reading and music reading.

The topic of assessment has attracted wide-spread attention in the discipline of music education in recent decades. However, most research centres on school-based assessment, and then mainly on the assessment of practical music subjects. Current assessment practices in music literacy programmes (such as 'paper-and-pencil' and standardized tests) counteract what is arguably the most important goal of music education, namely the development of musicianship. Therefore, in this study, my aim is to investigate assessment practices in music literacy courses for young adults, and to show how assessment in these courses can contribute to the development of musicianship. In order to reach these aims, the terms 'musicianship' and 'music literacy' are defined. The importance of a guiding philosophy for assessment is highlighted and constructivism is discussed as an example of such a philosophy, since constructivist principles largely correspond with the principles of assessment and adult education. Principles for effective assessment are subsequently established before being applied to the assessment of music literacy outcomes. Finally, the need for further research about various topics that can inform assessment practices in music subjects is pointed out. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

Submitted by SBI Biblioteca Digital (sbi.bibliotecadigital@puc-campinas.edu.br) on 2018-06-04T16:38:28Z No. of bitstreams: 1 VIVIAN ANNICCHINI FORNER.pdf: 4347051 bytes, checksum: 01447c7d098d0f87f8e3943783e8db6e (MD5) / Made available in DSpace on 2018-06-04T16:38:28Z (GMT). No. of bitstreams: 1 VIVIAN ANNICCHINI FORNER.pdf: 4347051 bytes, checksum: 01447c7d098d0f87f8e3943783e8db6e (MD5) Previous issue date: 2018-02-22 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The present research is an intervention-type participatory research focused on students with completed literacy cycle, without, however, being literate. The choice was to take on music as a guiding axis for the work to be developed. During the process, fourth grade students from an elementary state school in Campinas (SP) participated in this research, indicated by its managing team. The main objective of the research was to investigate how can music contribute to the development of specific knowledge about written language, in fourth grade students from elementary school, which presented important literacy lags, in order to enhance their literacy process. Considering this, the following specific objectives were outlined: (i) to meet the kind of work that students experience at school, regarding written language; (ii) to identify, through actions that students participating in the research have in the classroom, their difficulties regarding the appropriation of written language; (iii) to promote experiences with literacy activities involving music; (iv) to examine, in the light of historical-cultural theory, the interpsychological and intrapsychological processes that can highlight changes in students. For this, the methodological procedures used were: registering field observations of participants in classrooms; recorded interviews with faculty and coordination; recorded interviews of conversations with students; documentary analysis of students' written production through their notebooks. All procedures were performed before the beginning and after the period in which all intervention meetings occurred ? in sum, twenty-two meetings were held with seven students who attended the fourth grade of elementary school, during the second semester of 2016, recorded by video camera recorders and followed by literal transcription. This research was based on the theoretical framework of Vygotsky's cultural-historical dialogue with the discursive perspective of literacy. The data analysis was done by thematic nuclei created from the similarity from which the empirical material was presented to each other. Two cores were created: music as an educational resource, which involved exploiting specific aspects of language; and music as language, which involved exploring the discourse aspect of the song. The research presented a favorable scenario to the educational field by reflecting how teachers work with written language, aiming student?s development, expanding their language skills and contributing on discussions of teachers? formation and pedagogical practices of literacy. It is concluded that music as a form of language and mediating instrument can be a strong ally to engage students with written culture, approaching children of the literate world and promoting, with this approach, a greater understanding of its process. / O presente estudo ? uma pesquisa participante do tipo interven??o, que conta com alunos de ciclo de alfabetiza??o conclu?do, sem, no entanto, estarem alfabetizados. A m?sica foi assumida como eixo norteador do trabalho. Participaram alunos do 4? ano do Ensino Fundamental, indicados pela equipe gestora de uma escola estadual do munic?pio de Campinas (SP). O objetivo principal ? investigar de que maneira a m?sica pode contribuir para o desenvolvimento de conhecimentos espec?ficos sobre a linguagem escrita em alunos do 4? ano do Ensino Fundamental que apresentavam defasagens importantes no processo de alfabetiza??o, visando potencializ?-lo. Para tal, delinearam-se os seguintes objetivos espec?ficos: (i) conhecer o tipo de trabalho vivenciado pelos alunos na escola em rela??o ? linguagem escrita; (ii) identificar, por meio das a??es que os alunos participantes da pesquisa t?m em sala de aula, suas dificuldades em rela??o ? apropria??o da linguagem escrita; (iii) promover experi?ncias com atividades de alfabetiza??o que envolvam a m?sica; (iv) analisar, ? luz da teoria hist?rico-cultural, os processos interpsicol?gicos e intrapsicol?gicos que evidenciam movimentos de mudan?as nos alunos. Os procedimentos metodol?gicos utilizados foram: registro em di?rio de campo das observa??es participantes nas salas de aula; audiograva??o de entrevistas com coordena??o e corpo docente; audiograva??o de conversas com discentes envolvidos; an?lise documental de cadernos de produ??o escrita dos alunos. Os procedimentos realizaram-se antes do in?cio e ap?s o per?odo em que os encontros de interven??o ocorreram ? ao todo 22 encontros com sete alunos de 4? ano durante o segundo semestre de 2016, registrados por videograva??o e seguidos de transcri??o literal. Teve como base o referencial te?rico hist?rico-cultural de Vigotski em di?logo com a perspectiva discursiva de alfabetiza??o. A an?lise de dados foi feita por n?cleos tem?ticos criados a partir da similaridade que o material emp?rico apresentava entre si. Dois n?cleos foram criados: a m?sica como recurso pedag?gico, que envolveu a explora??o de aspectos espec?ficos da l?ngua; e a m?sica como linguagem, que envolveu a explora??o do aspecto discursivo da can??o. A pesquisa apresentou, para o campo educacional, cen?rio favor?vel ? reflex?o de um trabalho com a linguagem escrita, visando o desenvolvimento dos alunos, a amplia??o de suas compet?ncias lingu?sticas e a contribui??o para discuss?es sobre forma??o de professores e pr?ticas pedag?gicas de alfabetiza??o. Concluiu-se que a m?sica, como linguagem e recurso mediador, pode ser aliada no envolvimento dos alunos com a cultura escrita, aproximando-os do mundo letrado e promovendo sua compreens?o.

Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

Švietimo ir mokslo ministro 2002 m. gegužės 30 d. įsakymu Nr. 986 patvirtintuose Lietuvos muzikos ir meno mokyklų programiniuose reikalavimuose pradinio 1–3 klasių muzikavimo programoje nurodoma, kad vietoje iki tol dėstyto solfedžio dalyko bus dėstomas dalykas „Muzikos raštas ir kultūros pažinimas“. Šio dalyko tikslas – lavinti muzikinę klausą integruojant solfedžio, muzikos kūrinių klausymosi ir muzikos istorijos elementus. Tačiau ministerija iki šiol nėra pateikusi nei šio naujai įvesto dalyko programos, nei kokių nors rekomendacijų ko ir kaip per šio dalyko pamokas mokyti, o muzikos ir meno mokyklų mokytojai dažniausiai naudojasi savo pačių skubotai parengtomis programomis. Todėl šio magistro darbo autorė ėmėsi šį dalyką tyrinėti, siekdama išsiaiškinti dabartinę dalyko dėstymo ir pedagogų požiūrio į įvairius jo aspektus situaciją, taip pat suformuoti optimalaus dalyko turinio, pamokų sandaros bei mokymo metodų variantų modelį, pasiūlydama savo sudarytą autorinę programą. Tyrimo objektas – „Muzikos rašto ir kultūros pažinimo“ dalykas muzikos ir meno mokyklų pradiniame etape. Tyrimo tikslas – ištyrus dalyko „Muzikos raštas ir kultūros pažinimas“ dėstymo tendencijas muzikos bei meno mokyklų pradiniame etape, sukurti autorinę programą, skirtą optimizuoti šio dalyko dėstymą. Tyrimo uždaviniai: 1) ištirti „Muzikos rašto ir kultūros pažinimo“ dalyko prioritetines kryptis pradiniame ugdymo etape ir veiksnius, turinčius įtakos jų optimizavimui; 2) ištirti mokytojų požiūrį į... [toliau žr. visą tekstą] / According to the Minister’s of Education order No. 986 from the 30th of May, 2002 in the programs’ requirements for Lithuanian music and art schools for early (1–3) classes pupils the subject “Music Literacy and Music Culture Cognition” was established instead of former solfeggio subject. The goal of this subject is to develop children’s musicality while integrating solfeggio elements, listening to the music creations and the elements of music history. However the Ministry of Education has not yet presented neither the program of this new subject nor any recommendations concerning the content of lessons, that is why up to this time music and art schools teachers use there own programs which often are being prepared hastily and superficially. Therefore the author of this master work decided to investigate this subject in order to reveal the actual contemporary situation of teaching peculiarities and to research the teacher’s attitudes towards various aspects of this new subject. Moreover her aim was to create the pattern of subject content, structure of lessons and teaching methods by introducing the subject program of her original composition. The subject of the research: “Music Literacy and Music Culture Cognition” teaching in music and art schools in the contemporary stage. The aim of the research: to create the original program designed to optimize the teaching of this subject on the ground of “Music Literacy and Music Culture Cognition” subject content and teaching... [to full text]

The topic of assessment has attracted wide-spread attention in the discipline of music education in recent decades. However, most research centres on school-based assessment, and then mainly on the assessment of practical music subjects. Current assessment practices in music literacy programmes (such as 'paper-and-pencil' and standardized tests) counteract what is arguably the most important goal of music education, namely the development of musicianship. Therefore, in this study, my aim is to investigate assessment practices in music literacy courses for young adults, and to show how assessment in these courses can contribute to the development of musicianship. In order to reach these aims, the terms 'musicianship' and 'music literacy' are defined. The importance of a guiding philosophy for assessment is highlighted and constructivism is discussed as an example of such a philosophy, since constructivist principles largely correspond with the principles of assessment and adult education. Principles for effective assessment are subsequently established before being applied to the assessment of music literacy outcomes. Finally, the need for further research about various topics that can inform assessment practices in music subjects is pointed out. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

The purpose of the study was to explore metacognitive strategy usage in young choristers engaged in notational literacy tasks. Constructivist approaches encouraging metacognition are used in many subject areas, but have not been studied within a music context. Music-specific strategies (Killian & Henry, 2005) and metacognitive self-regulatory strategies (Zimmerman & Pons, 1986) were sought to learn how students become musically independent. Ten extra-curricular honour choir participants were studied using a collective case design. Participants completed a background questionnaire, a notational reading session, a performance of the piece studied in the reading session, and an interview describing their learning, which was recorded, analysed and transcribed. Processes of analysis included case aggregation, direct interpretation, and triangulation. Results indicate 1) learning is an individual process, 2) all students used strategies deliberately, though none evaluated the effectiveness of their choices, 3) students using the most strategies achieved the highest accuracy, and 4) students seemed to enjoy and benefit from discussing metacognitive processes.