Twenty-one original prose selections were written for use by junior high school students of oral interpretation. A survey of textbook publishers and junior high school teachers revealed a need for material of appropriate length and of suitable reading and interest levels for oral reading in the junior high school classroom. The selections were read and evaluated by a group of junior high students and a junior high teacher of speech. The responses indicate that the selections are effective and usable as an instructional aid in teaching oral interpretation in junior high school.

This thesis proposed the idea of oral interpretation of children's literature as a pedagogical tool in the primary classroom. A group interpretation script entitled "The Wonderful World of Dr. Seuss" was compiled for performance in the primary classroom as a viable vehicle for teaching children to understand and appreciate literature. The script was evaluated by qualified teachers in the areas of English, oral interpretation, and elementary education as well as a critical analysis by the author. The thesis concluded that oral communication is necessary in the primary grade and that group interpretation is an exciting way to enhance learning.

It was the purpose of this thesis to write an original script especially designed for Readers Theatre and to direct and produce that script for public performance. The thesis consists of an introduction which includes background material, a review of the literature concerning Readers Theatre, and the problems of writing an original script. The thesis includes the script as well as an evaluation of the attendant problems concerning the direction and production.

LD2668 .T4 1947 G68 / Master of Science

University of Macau / Faculty of Arts and Humanities. / Department of English

There is limited research available focusing on arts integration at the secondary school level and even less on a children’s chorus curriculum. Therefore, the aim of this qualitative study is to investigate the application of arts integration in a university-based children’s chorus based on historical research, rehearsal observations, and interviews of practicing children’s chorus directors. The pedagogical practices and philosophies of three prominent children’s chorus directors, Robyn Lana, Henry Leck, and Ann Small were conducted to understand the relationship between arts integration theory and practice in their respective children’s choruses. The criteria used to select the participants of this study is based upon their tenure in the field of choral music education, national and international recognition, their publications on music education for children, and their expertise on the child and adolescent singing voice. One of the principal objectives of this study is to discover if the participants are currently implementing arts integration in their respective children’s choruses and, if not, would they be amenable to implementing this type of pedagogy? The study’s research criteria focuses on two possible factors: 1) the expectations of a high level of artistic performance that could affect time availability presenting obstacles to implementing arts integration, and 2) identifying the philosophy and practice towards arts integration amongst the selected children’s chorus directors. The study suggests that a choral curriculum based on arts integration does not appear to diminish or interfere with the rehearsal process in preparation for the choral performance but rather, enhance the total learning and performance outcomes. Research data also suggests the need for materials and resources to assist with the application of an arts integrated curriculum. The three participants acknowledge the value of this type of pedagogy as well as the significance of future research to aid in applying this methodology. Sample lesson plans and choral literature representative of repertoire conducive to creating lesson plans based on arts integration strategies are found in the appendices. However, additional qualitative and quantitative studies are needed to promote arts integration at the secondary choral level. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2013.

Orientador: Luiz Ricardo Basso Ballestero / Banca: Adriana Giarola Kayama / Banca: Joana Mariz de Sousa / Banca: Mônica Pedrosa de Pádua / Banca: Sandra Madureira / Resumo: A interpretação da canção de câmara brasileira exige refletir sobre elementos musicais e verbais, notados e não notados na partitura, que se relacionam diretamente com a emissão da voz cantada. O conhecimento sobre junturas de palavras é, assim, particularmente importante, pois se desdobra em diversas possibilidades de performance. Em uma perspectiva interdisciplinar, tópicos de fonética, fonologia e semântica, bem como os aspectos estilísticos, históricos e expressivos da performance vocal foram considerados para fornecer subsídios para a criação de estratégias de análise de junturas de palavras em peças vocais. A metodologia da pesquisa incluiu a análise de registros sonoros, realizada a partir do modelo da Teoria Fundamentada nos Dados. Demonstramos que a ideia da sílaba complexa transitória (SCT), formada pelos limites de vocábulos, pode contribuir para a identificação de fenômenos fonéticos e prosódicos que envolvem o texto e a música. Uma vez conhecidos as categorias e os fenômenos que se relacionam aos processos articulatórios, constatamos que a execução das junturas pode ser alterada, caso haja modificação em algum parâmetro envolvido: a respiração e a pausa, os ajustes do trato vocal (articulação), a intensidade, a altura, a duração e o timbre. / Abstract: The interpretation of a Brazilian Art Song requires us to speculate about musical and verbal elements, either notated on the score or not, which are directly related to the vocal production. The knowledge about the connection of words (junction, linkages) is thus particularly important because it unfolds into various performance possibilities. In an interdisciplinary perspective, topics on phonetics, phonology, and semantics and stylistic, historical and expressive aspects of vocal performance were considered in order to provide subsidies to create strategies to analyze the connection of words in vocal music. The methodology included the analysis of recordings, realized according to the Grounded Theory. We evidenced that the transient complex syllable (SCT), formed by the vocabulary limits, can contribute to the identification of phonetic and prosodic contents, involving text and music. Once differentiated as categories and processes related to articulatory processes, the results showed that the performance of the words linkages/junction can be changed, in case there is a modification in musical and vocal parameters, such as breath planning, musical rests, adjustments in the vocal tract (articulation), intensity, pitch, duration and timbre. / Doutor

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Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 2008. / Abstract. Includes bibliographical references (leaves 215-228).

Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 2008. / Includes bibliographical references (leaves 215-228).