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<p>This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.</p>

This thesis aims to investigate and discuss the possibility for women in the early Christian church to make music, which in the ancient Roman society was something complicated. Afemale musician was looked upon as decadent and dissolute. This idea, in combination with the music ideals of the church influenced by the Neoplatonic movement, and the Pauline statement (1 Cor. 14:34-36), cast women to be completely prohibited in participating even in the psalmody during the service. My purpose is to discuss how this was looked upon in different Christian regions, using the church fathers as the main material source, since this has not previously been well documented or studied.

Using a basic interpretive qualitative research design, this study explores adult musicians’ reflections of participation in wind band as a health promoting activity. Five male participants between the ages of 58 and 76 participated in semi-structured interviews and provided basic demographic information. Data were analyzed thematically and findings represented evocatively. Elements of a wind ensemble were used as a metaphor to provide a rich way of presenting the data as fundamentally tied to the specific act of making music in a wind ensemble. The three main components of the metaphor and the main themes they present are: Instrumentation: Defining Roles (Purpose), Sound: Making Meaning (Physical and Emotional Well-being), and Performance: Extending Self (Challenge, Accomplishment and Connection). The current findings contribute to furthering knowledge and research in the area of music making and health, especially wind ensemble playing participation and healthy aging. Implications for both practice and future research are identified.

This study explored community music therapy as a psychosocial resource for persons living with HIV/AIDS at a clinic in Tshwane, South Africa. The role of community music therapy and its implications in South Africa were addressed as a second aim. A review of the literature on HIV/AIDS suggested that Sub-Saharan Africa has the most reported cases of HIV/AIDS and that persons living with HIV/AIDS may experience a lack of psychosocial resources. These psychosocial resources included inter- and intrapersonal attributes, positive mood and feelings of well-being. The data emerged from transcription of audio and video excerpts of community music therapy sessions, which included live music making and informal interviews during sessions at an HIV/AIDS clinic. These excerpts were transcribed as thick descriptions, coded and categorized to answer the research questions. The four categories were discussed as themes and supported community music therapy as a psychosocial resource for persons living with HIV/AIDS. In the broader South African context, community music therapy is a viable, inexpensive and valuable approach to re-establish community and facilitate psychosocial resources for persons living with HIV/AIDS. / Mini Dissertation (MMus)--University of Pretoria, 2009. / gm2014 / Music / Unrestricted

Syftet med denna studie är att undersöka kulturskolepedagogers uppfattningar om skapande i musikundervisning. Detta har gjorts genom att besvara tre frågeställningar: Hur tolkar kulturskolepedagoger aktiviteten skapande i musikundervisning? Hur beskriver kulturskolepedagoger sitt arbete med skapande i musikundervisning? Vilka hinder ser kulturskolepedagoger för elevers skapande i musikundervisning? Arbetet har haft ett genomgående hermeneutiskt perspektiv och vilar på en interpretativistisk kunskapssyn. Tidigare forskning presenteras såväl som språkliga definitioner av de centrala begreppen i studien. Studien är en intervjustudie. De genomförda intervjuerna har transkriberats och sedan analyserats tematiskt för att därefter forma ett resultat. Resultatet visar på en tolkning av skapande som en aktivitet där individen (eleven) producerar något eget och något nytt. Det framkom i intervjuerna att lärarna beskriver sitt arbete med skapande i egenskap av en lek utan rätt eller fel. I resultatet framkommer att kulturskolepedagogerna upplever det främsta hindret för elevens skapande är eleven själv. Därefter diskuteras resultatet utifrån tidigare forskning där likheter och skillnader i resultat lyfts fram. Sist i arbetet presenteras en metoddiskussion som problematiserar studiens utförande. / The aim of this study is to investigate what music-making means to four music teachers in the nonobligatory music- and culture school. This has been investigated by answering three main questions: How do music teachers interpret music-making as an activity in teaching? How do music teachers describe their work with music-making in their own teaching? What obstacles for pupils’ music-making do music teachers experience? The study is based on a hermeneutic perspective and based on an interpretative view of epistemology. In the study, earlier research is presented along with linguistical definitions of the words central for this study. The study is based on interviews which have been transcribed and then analyzed thematically to present a result. The result shows an interpretation of the activity music-making as something new to the individual (the pupil) produces, something of their own. It was shown in the interviews that the music-teachers describe their work with music-making as a form of play, which cannot be subject to outer conceptions of right or wrong. In the result it is presented that the informants of the study experience the pupils themselves as the main obstacle for their music-making. Then the result is discussed in the context of previous research, where similarities and differences in the findings are shown.

I denna uppsats undersöker jag hur elever upplever musikskapande undervisning på gymnasiet och hur de beskriver lärarens del i deras kreativa process. Det empiriska materialet är insamlat från två fokusgruppsintervjuer med elevgrupper som studerar musikprofil på gymnasiet. Ett relationellt perspektiv har använts för att analysera intervjuerna. Flera beskrivningar visar att lärare ofta bemöter eleverna objektivt, vilket resulterar i att de främst utvecklas i att repetera och etablera information. Eleverna förmedlar även exempel på lärare som delvis bemöter dem som subjekt, men främst relationer mellan elever som öppnar upp för att mötas som två subjekt, något som ger dem rum att engageras och utvecklas som människor genom musikskapande dialog. Resultatet kompletterar tidigare forskning inom området relationen mellan lärare och elev, och visar särskilt vidare på hur musikskapande likt all form av skapande och lärande i grunden behöver autentiska möten för att kreativa frön ska kunna gro och spira. / This essay examines how students experience music creating studies at upper secondary school, and how they describe the teacher's part in their creative process. The empirical material is collected from interviews with two focus groups of students studying music profile in high school. A relational perspective has been used to analyze the interviews. Several descriptions are given about teachers, who is interacting with the students in an objective way, which results in them primarily developing in rehearsing and establishing information. There are also examples of teachers who partially meet students as a subject, but primarily relationships between students that opens up for meetings between two subjects, something that gives them room to get involved and develop on a personal level through a music creating dialogue. The result complements previous research in the area of the relation between students and teachers, and especially further shows how music creating, like all forms of creation and learning, ultimately requires authentic meetings for creative seeds to germinate and sprout.

This thesis looks into cross-cultural music-making in higher education byexploring the plausible outcomes of the teaching of three Brazilian music teachers thatcame to a Swedish university to teach Brazilian music to Swedish students in theLinnaeus-Palme exchange project between the said university and a Brazilian universityin the 2010s. Through interviews the three Brazilian music teachers have given theirview of the teaching that took place, what they taught and why, and what methods theywere using. Comparing the answers to current literature, this thesis shows that there areboth musical gains that lead to musical maturity in working with new unknown materialwith insider teachers as well as gains in terms of cultural competence, a culturalawareness, when getting the chance to study with insider teachers that introduces thestudent to traditions and cultural values through the methods of their teaching. Culturalawareness is a useful competence when working in a multicultural society and aglobalized world, hence universities with music education should consider finding waysof letting students study with insider teachers.

The study deals with creative music making in the compulsory comprehensive school’s music instruction. This is an educational effort and is carried out within the framework for the research area Educational work. The objective is, in investigations, steering documents, and teaching material, from 1945 and onwards, as well as through observations of classroom practice today, to describe the discourse about creative music making in music in the Swedish compulsory comprehensive school, and discuss its importance for the field of music and music instruction. The problem area encompasses questions about how generation of knowledge and practice is regulated in the instruction. The empirical material in form of transcriptions from interviews with teachers and students, as well as field notes and recordings from classroom observations together with general texts compose the inter-textual chains that form the discourse about creative music making. The study has a historical beginning inspired by Michel Foucaults’ discourse concept. The regulating and normalizing procedures are used as analytical tools that create the discourse. The study puts in focus the recommended practices in the cited texts. The qualitative differences and similarities, continuities and discontinuities are sought, as well as the definitions and categorizing that is done in the texts. Information which is repeated in several sources, and deviates or breaks with frequently occurring content in the texts is noted. “Creative music making” has been categorized in relation to the individual, socially and in musical contexts. Analysis has been carried out as change over time related to the subject of music and from creative music making’s suggested goals and functions. Access to current school practice has been made through observations and interviews with teachers and students during lessons that contain creative music making activities as well as analyses of these in relation to the texts. In the analysis work, keywords are sought that provide a foundation for categorizing the material. With the establishment of the discourse a descriptive analysis about the remarks that have been registered is made. The classroom studies were carried out at 4 different schools where the four teachers who have been followed were interviewed. Shorter interviews were made with some of their colleagues and with those students, whose work has been followed. The result shows that the power which is exercised in the discourse affects both planning and organization of music instruction, like choice of content and work forms. In the discourse the categories freedom as recreation, creating music making as a we can and you can, the classroom as a musical practice room for the individual and social cultivation, contemporary culture orienting and to play is to create are constructed. The discourse about creating in music instruction functions as a tool for the changes in school that prepares the compulsory comprehensive school’s actualization. The reform and learning by doing ideas together with ideas about aesthetics and social cultivation of the individual towards democracy, and an active participation in society and cultural life is a part of the discourse. Today, this makes up the structural elements in the description of creative music making. The musical style and genre appears to be important as musical frames in the creative music making activities but also for the working methods and contents. In the discussion, the discourse on creative music making is linked to the larger space that ensemble music making has received in music instruction. Creative music making’s culture-oriented functions are linked to music as important phenomenon for the individual and society. Keywords: creative music making, discourse, music instruction, educational work, school, history of education, creativity, aesthetics, popular music, youth

This dissertation is a qualitative interview study conducted with staff and residents at Sparrow Rainbow Village, an HIV/AIDS community. The purpose of this research was to explore the perception of the role of music held by members for their community, and specifically its role in creating a sense of community, as well as to investigate the implications these perceptions might have for setting up a community music therapy project. The interviews revealed a struggle with establishing a community identity that embraced health, as well as feeling isolated from the greater community. Music was seen as a means of bringing people together both within the community and serving to bridge the gap with the wider community and in so doing, empowering both communities simultaneously. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2008. / Music / unrestricted