The purpose of this study is to determine some probable effects of certain procedures in overcoming negative attitudes toward school music and to show the possibilities of locating and eliminating some of the factors associated with children's difficulties in music.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these. / AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.

This study is to determine some means of directing and supervising practice periods of band students; and to examine the available class study materials with a view of determining their use and suitability as an aid to supervised practice.

The purpose of the present study is three-fold in its nature: (1). To determine, by means of interviews and questionnaires, the attitudes of school administrators toward the various aspects of the instrumental music program; (2). To interpret these attitudes in the light of modern music education; (3). To make recommendations for the improvement of the instrumental music program with respect to the findings of the study.

Abstract not available

This study aimed to intervene in the challenges emanating from the launch of a new primary schools Arts syllabus which is geared towards reflecting Batswana cultural values in Botswana primary schools. The launch was hurried, before all necessary provisions were made (Phuthego, 2007). Consequently, there is dire need of relevant resource materials, teaching/learning activities and qualified teachers, who can effectively translate the syllabus objectives and aims. The aim of this study was hence to devise learning activities based on Tswana children’s songs as the selected materials to realize the objectives of the existing primary school music syllabus for Botswana primary schools lower standards. This has been done through analysis of Tswana children’s songs, studying their nature and inherent values, on the basis of which culturally relevant teaching and learning activities have been designed for use in Botswana primary school music curriculum. In order to validate the need for a consideration of culturally relevant teaching and learning activities in Botswana primary schools, the study explored the music of the Batswana prior to and during colonialism and how it manifests itself in the current curriculum delivery. The study has also considered the current education policy’s aspirations of instilling cultural values in learners, as well as grooming a rounded citizen who can adjust to the challenges of the 21st century corporate world. The study employed content analysis through which twenty-four children’s songs were studied for their inherent values and musical concepts. Eclectic learning activities which take cognizance of the holistic approach prevalent in Tswana music making milieu, combined with the Rhythm Interval Approach (Akuno, 2005) which advocates the use of temporal and tonal elements of sound as the basic ingredients from which other musical elements such as form, texture, timbre harmony and dynamics are derived were employed. The activities were then tested in standards 1 to 4 to address the music syllabus. The results showed that the songs completely address the objectives stipulated in the syllabus and moreover, provide some extra-musical concepts which are embedded within them. The results also revealed that the Rhythm Interval Approach is applicable in Botswana lower primary schools, hence implicitly suggesting its further possible applicability to upper primary classes because the syllabus has been designed in a spiral fashion, where the same musical concept like ‘sound’ appears at different levels of intensity across all classes. The study recommended that The Revised National Policy on Education’s aim of grooming a locally and internationally compatible learner can be enhanced through learners’ awareness and appreciation of their culture on the basis of which they can later on spread their wings, to other world cultures. Tswana children’s songs have been observed to have a potential to act as a bridge to ease the transition of cultural pedagogy of rote learning to current paradigm of symbolic representation and abstraction of concepts. The study devised twenty learning activities to facilitate the use of these songs for curriculum delivery in standard 1-4. / Thesis (M.Mus.)-University of KwaZulu Natal, Durban, 2009.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1988.

There is no abstract available for this thesis.

The purpose of this study was to determine the status of band programs in the public secondary schools of New Jersey. Answers were sought to the following questions: (1) what was the background of directors; (2) how were the programs organized; (3) what were the nature and extent of performance and rehearsal practices; (4) what type of facilities, budgets, and equipment were available; (5) what did directors believe to be the strengths and weaknesses of band programs; and (6) what were the perceptions of selected superintendents concerning band programs? Information was obtained from band directors through a questionnaire which was sent to every public high school in New Jersey. Another questionnaire was sent to a random selection of superintendents. Data, as received from 60.2 percent of the directors and 72 percent of the superintendents were tabulated, categories were formulated, and tables were prepared to present the data in terms of numbers and/or percentages. 1. Generally, the band directors of New Jersey high schools are experienced and dedicated professionals who seek to improve their teaching skills and philosophies. 2. Students have the opportunity to participate in a wide variety of ensemble offerings. 3. Most ensembles have adequate rehearsal time, although some marching bands seemingly utilize excessive amounts of the student's time for rehearsal and performance. 4. Instrumental lessons are available in 83.9 percent of the schools. 5. Band programs in the high schools possess some of the basic organizational aspects that are believed to be necessary for musical learning to occur. 6. Most band organizations seemingly do not over-perform. 7. Directors and superintendents believe that the emphasis being placed on performance skill, aesthetic/ artistic understanding, and social/personal development is proper. 8. Band directors and superintendents believe there is a need to re-evaluate the functions of band performance for the future. 9. Facilities, equipment, and supplies are seemingly adequate in most schools. 10. Dedication of directors and variety of programs are strengths of New Jersey's band programs. 11. The weaknesses of New Jersey high school band programs appear to be an increased emphasis placed on marching band, competition, and exploitation of band organizations by internal and external forces. This limits musical understanding.

Music education is an important element in the development of the whole child. The school is a place where children learn about and are directly influenced by things that make a lasting impression on their development. What better place for music to be taught? Music is a course of study that can have a direct influence on a child's lifetime tastes and values for the arts. / This study investigates the effects of an Alternative Instrumental Music Program on grade three children, at an elementary school situated on the West Island of Montreal, Quebec. One of the two classes involved in the Study (Experimental Group) participated in an alternative instrumental music program and its applications; the other class (Control Group) followed a traditional music program. Each class consisted of twenty-eight students. Quantitative and qualitative data were collected from both groups of students, homeroom teachers, and parents over a period of ten consecutive weeks. / The findings revealed that the children in the Experimental Group enjoyed learning music in school more than those in the Control Group. The Experimental Group also indicated a greater increase in the enjoyment of activities experienced during music class than those in the Control Group. Moreover, there was a higher increase of musical knowledge in the Experimental Group. / The author suggests that further research on the effects of alternative music programs on elementary school children would be beneficial to the educational community.