The purpose of this study was to examine the presence of Schön's concept of reflective conversation as a defining component in the applied studio music lesson. The research problems were (1) to determine the presence of complete and incomplete reflective conversations; (2) to determine the verbally exhibited knowledge base within complete conversations in relationship to conversation length; and (3) to establish an instructional profile of stable behaviors based on reflective conversation as a distinguishing characteristic among selected teachers. Videotapes of twenty-six applied studio music lessons of thirteen university teachers were analyzed according to problem solving, on-the-spot experimentation, and evaluation. An observation form was developed and was a reliable tool to collect information concerning number and type of reflective conversations, conversation length, and the teachers' verbally demonstrated knowledge base. Knowledge base was obtained by using the procedural model of Flanagan's critical incident technique. Reflective conversations existed and were a distinguishing characteristic of the teachers. With the exception of two teachers, a stable use of both number and length of reflective conversations, and knowledge base areas, was found. A discernible difference in the teachers' knowledge base within conversation length existed, and thus established instructional profiles for the teachers. Complete reflective conversations ranged from one-sixth to over half of total lesson time. Within instrument categories, teachers generally revealed a dissimilar knowledge usage. Some teachers exhibited fast-paced problem solving, in one minute or less, and named one or two knowledge areas. Others had longer conversations, up to five minutes, with more deliberate problem solving, and as many as twelve knowledge areas named. Results indicated that a practically significant situation can be examined by establishing teacher instructional profiles based upon reflective conversation. Methods employed in this study could be used to document teacher problem-solving and teacher knowledge in a variety of settings.

The purpose of the study was to investigate the relationship between Western and Thai music objectives in the undergraduate music programs of selected Thai universities and colleges. The data were collected from two sources: (1) an investigation of university music catalogs and syllabi for potential conflict areas in Western and Thai music objectives, and (2) questionnaire responses from university music teachers regarding their opinions about those potential conflict areas found from reviewing catalogs and syllabi. The dissertation is organized into six chapters: the introduction in Chapter I; the synthesis of related literature and background information regarding music study in higher education in Thailand in Chapter II; the design of the study in Chapter III; the comparisons of required music programs of six Thai universities in Chapter IV; the analysis of questionnaire data in Chapter V; and the summary, conclusions, discussions, and recommendations in Chapter VI. It was found that Western and Thai music objectives tended to be seen as supporting each other in the areas of music theory, orchestration, form and analysis, music history, counterpoint, composition, and the practice of pitched and unpitched musical instruments. Sight reading practices in Western music were found to support the rote method utilized in the study of Thai music. Western and Thai singing methods tended to be seen as conflicting somewhat with each other. The Western diatonic scale system tended to be seen as conflicting somewhat with the Thai musical scale system. The establishment of a course in the sight-reading of Thai music was recommended in Thai universities.

The study described through content analysis the general music course in the secondary school as perceived in selected curricular sources from the 1960's and 1970's. As various writers of curricular sources developed their own content and methodologies, a vast amount of data became available which seemed unmanageable because of the particular philosophical goals chosen for the course. The study organized in a systematic manner the content and methodologies of the.course by means of eighteen categories. Categories of high frequency inclusion in the general music sources were shown to be the elements of music, music vocabulary as a specific area for learning, the predominant choice of classical Western/art music, the use of listening and creative activities and the discussion of psychological learning principles.

A. What training are senior colleges giving students in Texas to prepare them for teaching music in the grades? B. What training are junior colleges giving students in Texas to prepare them for teaching music in the grades? C. What observations can be made on training now given? What recommendations can be made for improvement? D. 'What conclusions have supervisors of music in Texas reached concerning the ability of teachers trained in teachers' colleges? E. What is the reaction of teachers who are teaching music and who have had the six hours of music required by the state department?

The problem of this study is to evaluate the public school music program in the following seven independent schools of Denton County: Denton, Pilot Point, Sanger, Krum, Ponder, Northwest, and Lewisville. The evaluation includes the high school, the junior high school, and the elementary school. The purpose of the investigation is to determine the number and content of the music courses and musical activities being offered in these schools, the number of total students participating in these courses, and to show to what extent the schools appear to meet criteria set up by the State Department of Education in Bulletin Number 492, The Teaching of Music in Texas Public Schools, and other authorities in the field of public school music, during 1949-1950.

The purpose of this study was to investigate factors related to teaching listening in elementary school music and to make recommendations toward an ideal course of study in listening.

The purpose of this study was to prepare music theory textbook-workbooks for students of elementary school grades four through eight who are taking private music lessons in voice, piano, or other instruments. The study was prompted by the action taken first by Texas Music Teachers Association and later by Music Teachers National Association which made the passing of comprehensive music theory examinations a prerequisite for entering all student performance and contest events sponsored by these associations.

The purpose of this study was to design a rehearsal method for presenting the historical and theoretical aspects of selected works for concert band. 1. 'What systematic approach can be designed for studying the historical aspects of a musical work? 2. What systematic approach can be designed for studying the theoretical aspects of a musical work? 3. What compositions can be used to demonstrate historical and theoretical elements? 4. What rehearsal method can be devised by applying the systematic approaches for studying historical and theoretical aspects to the selected works?

The purpose of this problem was to select audio-visual materials that would enhance the teaching of music in the primary grades. Since audio-visual equipment and materials have gained a place of prominence in the modern education program, the teachers, administrators, and even the architects need to be cognizant of their possibilities and applications. Audio-visual aids should be investigated to disclose ways of improving their utilization in the learning process through the stimulation of the following human senses: sight, hearing, and touch. The results of many experimental research studies in the field of audio-visual education have proved that the application of audio-visual devices in the classroom greatly improves both understanding and retention as compared to conventional teaching methods. It is hoped that the identification, enumeration, and suggestions for utilization of audio-visual aids presented in this study will motivate the reader to give further attention to audio-visual materials as applied to his specific situation, with the awareness of their unlimited possibilities in increasing understandings through sensory experiences.

The purpose of this study was to determine and describe ways in which music education can be used in Protestant churches. During the last twenty years, participation in church music has grown very rapidly. The increase is a result of the growth of music in general. Music has become an important part of home, school, church, and community functions. This is evidenced by many facts: symphony orchestras, as well as community instrumental and choral groups have increased in number to the extent that there are more today than at any time in history; school music has taken tremendous strides since 19257 and church music programs have been developed to such a degree that they attract large numbers of people. In spite of the tremendous advance of music in general, and in the field of church music in particular, there is still much that needs to be done in church music. For example, when "Sacred Music" is mentioned to an average group of Americans, some will respond with blank and uninterested stares. Others will mention some of the well-worn sentimentalized, semi-religious songs such as "He," "The Man Upstairs," "You'll Never Walk Alone," or other examples of commercialized religion, Those people, and the environment in which they live, need to be reached with the music of the church that can speak to them with real meaning and truth.