This study investigated how and to what extent music listening was initiated by elementary general music teachers. The specific problems of the study were (1) identification of activities and materials related to music listening and (2) the determination of how and to what extent assigned and assumed music listening was initiated in the selected classrooms. Systematic observation was chosen to investigate these problems. An observation instrument, the Elementary Music Listening Schedule (EMLS), was developed by which eighteen elementary general music teachers were observed during ten lessons.

Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)

The purpose of the study was to indicate procedures leading to meaningful learning experiences through music for the educable mentally retarded child. Four areas of a music curriculum were considered: performing, composition, listening and dancing. Based upon known characteristics of the educable mentally retarded and professional writings of authorities in the fields of both music education and special education, objectives and specific approaches to musical experiences were determined, Twelve performing, eight composition, ten listening and ten dancing experiences are outlined with objective, previous experience, materials, room arrangement, song material, procedure and related activities included in each.

The purpose of this study is to present, on the basis of the material obtained through survey methods previously indicated, a comprehensive picture of the small high school band library.

Over the past 13 years, I and the other co-leader of the Unforgettables Chorus have observed how direct participation in a chorus designed for individuals with Alzheimer’s disease (AD), a type of dementia, and their caregivers has shown improvement in mood and wellbeing for these participants. The conductors have witnessed remarkable changes in choir participants, but thus far, evidence for the effects of this program has been mostly anecdotal. Previous literature suggests that improved mood is associated with better health outcomes and that music can positively impact quality of life and wellbeing among individuals, including people with dementia. In this mixed-methods study, the primary researcher has conducted qualitative interviews with 10 caregivers of individuals with AD and utilized a validated psychometric tool, the Visual Analog Mood Scale (VAMS), within a study choir of 28 individuals with AD and their caregivers to investigate changes in the context of six choir rehearsals. Qualitative interviews identified several themes, including restoring personal identity, connecting with others in the choir and in the community, “musical carryovers” outside the choir program, benefits conferred by warm-ups and vocal exercises, and positive mood-related and emotional experiences. In a statistical comparison of VAMS scores before and after choir rehearsals, there was a statistically significant change in mood over the course of a choir session (p < 0.001), and the mood scores of all 28 individuals increased at every session. Based on the results of the qualitative interviews and quantitative test results, there is evidence to suggest that this type of choir program is beneficial for the mood and overall wellbeing of individuals with mild to moderate AD and their caregivers. This study demonstrates the clear value of this choral ensemble for people with Alzheimer’s disease and their caregivers. These findings can be used to guide the establishment of similar groups across the world. Future studies in this area could focus on incorporating larger sample sizes and biometric data to complement the results of qualitative analyses.

The aim of this study was to document the expressed beliefs and observed practices of elementary school teachers involved in music instruction in Vancouver and Hong Kong. It is important to understand beliefs and value systems of teachers since they form the basis for their educational practices. These beliefs are shaped by various contextual factors in a society. The music of a society is one such factor that constitutes both cultural and educational practices in that society. Therefore a cross-cultural, comparative study concerned with music education was undertaken so as to better understand the underlying contextual factors that shape teachers' overall understandings and practices of teaching music in the elementary schools. The present investigation is the only study of this kind to date. This study was designed as a qualitative multiple-case study, including five cases in Vancouver and five cases in Hong Kong. The tools for data collection were in-depth interviews and repeated classroom observations. The results of this study suggest that teachers' expressed beliefs and their classroom practices about music education are informed by the following major factors: (1) teachers' personal experiences, (2) social and cultural factors of the societies in which they live, and (3) the music curriculum as set by the school systems. Furthermore, these results shed light on ways in which music education is implemented in these two cosmopolitan cities and demonstrate interesting interplay of various cultural influences. The findings of this study add to the knowledge of Western and Chinese ideas, especially educational thoughts and music education, through presentations and analysis of beliefs and classroom practices of teachers from these two cultures.

The aim of this study was to document the expressed beliefs and observed practices of elementary school teachers involved in music instruction in Vancouver and Hong Kong. It is important to understand beliefs and value systems of teachers since they form the basis for their educational practices. These beliefs are shaped by various contextual factors in a society. The music of a society is one such factor that constitutes both cultural and educational practices in that society. Therefore a cross-cultural, comparative study concerned with music education was undertaken so as to better understand the underlying contextual factors that shape teachers' overall understandings and practices of teaching music in the elementary schools. The present investigation is the only study of this kind to date. This study was designed as a qualitative multiple-case study, including five cases in Vancouver and five cases in Hong Kong. The tools for data collection were in-depth interviews and repeated classroom observations. The results of this study suggest that teachers' expressed beliefs and their classroom practices about music education are informed by the following major factors: (1) teachers' personal experiences, (2) social and cultural factors of the societies in which they live, and (3) the music curriculum as set by the school systems. Furthermore, these results shed light on ways in which music education is implemented in these two cosmopolitan cities and demonstrate interesting interplay of various cultural influences. The findings of this study add to the knowledge of Western and Chinese ideas, especially educational thoughts and music education, through presentations and analysis of beliefs and classroom practices of teachers from these two cultures. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Hierdie studie handel oor die Klasmusiekopleiding van die Junior Primereonderwysstudent. Studente wat vir Junior Primere opleiding aan onderwyskolleges registreer, is verplig om opleiding in Klasmusiek vir een van die vier studiejare te deurloop. Navorsingsbevindinge toon egter dat die opleiding nie die gewenste resultate in die praktyk fewer nie. Om probleme en tekortkominge voortspruitend uit die opleiding te identifiseer is 'n literatuurstudie aan die hand van die volgende aspekte gedoen: (1) 'n Besinning oor die struktuur van die kurrikulum en formulering van kurrikulumkriteria vir die samestelling van 'n sillabus. (2) ldentifisering van die struktuur van musiek en van Klasmusiek. (3) Eksemplariese analise van sillabusse vir die Klasmusiekopleiding van die student ten einde bevindings en aanbevelings wat as riglyne vir herkurrikuleringsaksies in die toekoms mag dien, te formuleer. / This study deals with the education of student teachers for Class Music in the Junior Primary phase. Students who enroll for a Junior Primary Course at Colleges of Education have to follow a compulsory course of at least one year in Class Music during their four year training. Research has indicated however that the training of these students does not bring about the desired results in practice. To identify problems and shortcomings stemming from the training in Class Music, a literature study was undertaken in which the following aspects were dealt with: (1) Consideration of the structure of the curriculum and the formulation of curriculum criteria for the compilation of a syllabus. (2) Identification of the structure of music and Class Music. (3) Analysis of examples of syllabuses for the training of students in Class Music to formulate findings and recommendations to serve as guidelines for curriculum review and restructing in future. / Educational Studies / M. Ed. (Didactics)

published_or_final_version / abstract / Education / Doctoral / Doctor of Philosophy

Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and coded in order to identify major themes and trends. Conclusions were verified through member checks, several types of triangulation and other qualitative analysis techniques. Trustworthiness was determined through an audit. Cognitively and physically, students had to accommodate musical techniques as these differed from those used in concert band. Some students were confused by the new seating arrangement and the playing of individualized parts. While some students could perform distinctly different swing and straight interpretations of the same song without external cues, others could only perform this task with external cues. Some changes in articulation were well within the students' capabilities while other techniques were more difficult to accommodate. Several students felt 'uptight' while they improvised alone in front of their peers, noting group improvisation and rhythmic embellishment of familiar tunes as being helpful in assuaging these feelings. Students recognized the environmental differences between concert band and jazz band, and reported more freedom of expression in jazz band. Particularly enjoying this freedom, the more willing improvisors banded together as a clique. The students' learning was viewed as being situated in the context of jazz band. 'Musical perturbation' and cognitive apprenticeship described students' physical and cognitive accommodation of the new context. The instructional strategies students found to be most helpful were student-centered and derived from cognitive behavior modification and scaffolding theory.