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Cooperative learning methods for group piano : the development of a teaching guideMeulink, Judie N. 10 January 2012 (has links)
This inquiry explored cooperative learning theory and methodology in the context of teaching functional keyboard skills in undergraduate collegiate group piano classes. The purpose was to create a teaching guide to be used in the teaching and learning of harmonization, transposition, improvisation, sight-reading, accompanying, playing by ear, and technique. The guide was created using established cooperative learning methods and was intended to be used in conjunction with other resources common to collegiate group piano classes. The majority of cooperative learning material pertains to non-music subjects; of those resources that relate to music, there are almost no available published sources that incorporate cooperative learning into the group piano curriculum. Teachers of collegiate group piano classes may wish to use this guide to introduce cooperative learning methodology in their teaching situations. / School of Music
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Class Piano in Relation to the Needs and Interests of the ChildAtchison, Ruby Dale Brown 08 1900 (has links)
The purpose of this investigation is to show how class piano can meet the needs and interests of the child. Research was made to discover the development of piano from its very beginning to the present time, thereby showing the value of class piano and how old and new methods can be used to meet the needs and interests of the child.
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Die aanwending van groepsmusiekaktiwiteite in die ontwerp en implementering van 'n klavierkurrikulum vir Suid-Afrikaanse laerskoleSimons, Jacqueline 12 1900 (has links)
Thesis (MMus) -- University of Stellenbosch, 2005. / ENGLISH ABSTRACT: South African education is currently moving in a new direction that is aimed at
representing all the cultures of the country. Music education is grouped as part of the
Arts and Culture learning area of Curriculum 2005 and the implication is that
instrumental music teaching is being marginalized at the expense of general music
teaching. In the past these two were regarded as separate subjects that each had its own
dedicated syllabus. This thesis is geared toward the preservation of instrumental music
teaching (in this case piano) as part of the Arts and Culture learning area of Curriculum
2005 by means of a complementary teaching program whereby general music teaching
and instrumental music teaching can be taught in conjunction with each other. This
approach is based on Gane (1996) who suggests activities and approaches to music
education that can support the co-operation between these two areas of music teaching.
This thesis is an exploratory study to determine if co-operation between prescribed music
curricula and the suggestions for music activities and approaches as proposed by Gane
(1996), have the potential to bridge the gap between general music teaching and
instrumental music teaching. At the onset of this study it was not to test a predetermined
hypothesis, but rather to establish the possibility of a complementary teaching model for
music teaching. This research project was done according to the qualitative research
methodology as it was done it was done in a social setting. This research project was
done over a period of six months with a group of ten learners whose progress ranged
from beginner to grade 2 level. A variety of music compositions was selected and
applied in the practice of the music lesson to demonstrate the application of the music
activities as suggested by Gane (1996). The ultimate goal of the use of the music
compositions was to indicate how prescribed and additional music can be explored to
optimize the learners' knowledge from the two fields of music learning. The following
syllabi were used for this thesis: the British National Curriculum (1995), as well as these
South African syllabi: Curriculum for Extra-Curricular Music - piano (1993), the Interim
Syllabus for Classmusic (1995), and Curriculum 2005 (1997). The reasons for the focus
on these specific syllabi in this research project are as follows: firstly the British National Curriculum serves as framework for Gane's (1996) article "Instrumental performance and
the National Curriculum: a possible partnership?" and this forms the foundation for this
thesis; secondly the Curriculum for Extra-Curricular music (piano) deals with
instrumental music teaching and the Interim Syllabus for Classmusic deals with general
music teaching and these are the two aspects of music teaching in South Africa which
this thesis aim to bring together; and lastly the Curriculum 2005 (1997) is the curriculum
whereby education is currently being practiced in South Africa.
The most important finding of this study is that the proposed teaching method is
workable for music education if certain conditions as is discussed in chapter 4 are in
place. It has also been found that because this is an exploratory study, there is room for
more empirical research in this regard. In conclusion it can be said that since this study
revealed the possibility for an exploratory teaching method for music teaching, this
teaching method does have merit. / AFRIKAANSE OPSOMMING: In Suid-Afrika is opvoeding tans besig om in 'n nuwe rigting te beweeg wat daarop
gemik is om verteenwoordigend van al die land se kulture te wees. Musiekopvoeding
word as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea gegroepeer en die
implikasie is dat instrumentale musiekonderrig ten koste van algemene musiekonderrig
ter syde gestel word waar dit voorheen as aparte vakke geag was wat elk volgens 'n
afsonderlike sillabus onderrig was. Hierdie tesis poog vir die behoud van instrumentale
musiekonderrig (in hierdie geval klavier) as deel van Kurrikulum 2005 se Kuns en
Kultuur leerarea by wyse van 'n komplementêre onderrigprogram waarbyalgemene
musiekonderrig en instrumentale musiekonderrig in wisselwerking met mekaar onderrig
kan word. Hierdie benadering word op Gane (1996) se voorstelle vir aktiwiteite en
benaderings tot musiekonderrig gebaseer aangesien hierdie skrywer ook 'n samewerking
tussen die twee areas van musiekonderrig beywer.
Hierdie tesis is 'n verkenningstudie om te bepaal of voorgeskrewe musiekkurrikula in
samewerking met Gane (1996) se voorstelle vir aktiwiteite en benaderings tot
musiekonderrig toegepas kan word om die oorbrugging tussen algemene musiekonderrig
en instrumentale musiekonderrig, wat as twee aparte afdelings van musiekonderrig
beskou word, te bewerkstellig. Die aanvang van hierdie tesis was nie om 'n
voorafbebaalde hipotese te toets me, maar eerder om die moontlikheid van 'n
komplementêre onderrigmodel vir musiekonderrig te bepaal. Die studie is volgens die
kwalitatiewe navorsingsmetode gedoen aangesien dit in 'n sosiale opset plaasgevind het.
Hierdie navorsingsprojek is oor 'n tydperk van ses maande en met 'n groep van tien
leerders gedoen wie se vorderingstadia van beginner tot graad twee strek. Verskeie
komposisies is geselekteer en in die musieklespraktyk uitgetoets wat daarop gemik is om
algemene musiekonderrig by instrumentale musiekonderrig te laat aansluit, ter illustrasie
van Gane (1996) se voorgestelde raamwerk vir musiekonderrig. Die uiteindelike doel
met die gebruik van die gekose repertorium is om aan te dui hoe voorgeskrewe en
aanvullende onderrigmateriaalontgin kan word om leerders se kennis vanuit die twee onderrigvelde bymekaar te bring en aan te vul. Die volgende sillabusse is in hierdie tesis
uiteengesit: Die British National Curriculum (1995) en ook verskeie Suid-Afrikaanse
kurrikula - dit wil sê die Kurrikulum vir Buitekurrikulêre musiek (klavier) (1993), die
Tussentydse sillabus vir Klasmusiek (1995) en Kurrikulum 2005 (1997). Die redes
waarom die voorafgenoemde sillabusse in die navorsingsprojek ingesluit is, is soos volg:
eerstens dien die British National Curriculum as raamwerk vir Gane (1996) se artikel
"Instrumental performance and the National Curriculum: a possible partnership?" en dit
is waarvolgens hierdie tesis geformuleer is; tweedens handel die Kurrikulum vir
Buitekurrikulêre musiek (klavier) oor instrumentale musiekonderrig en die Tussentydse
sillabus vir Klasmusiek oor algemene musiekonderrig - hierdie twee onderrigvelde is juis
die twee aspekte van Suid-Afrkaanse musiekonderrig wat hierdie tesis poog om by
mekaar te laat aansluit; en laastens word Kurrikulum 2005 ingesluit omdat dit die
onderrigprogram is waarvolgens opvoeding tans in Suid-Afrika gepraktiseer word.
Die belangrikste bevinding van hierdie studie is dat hierdie voorgestelde onderrigmetode
vir musiek werkbaar is indien daar sekere voorwaardes soos in hoofstuk 4 bespreek, in
plek is. Ter afsluiting is daar ook bevind dat aangesien hierdie tesis as 'n
verkenningsstudie gedoen was, daar ruimte vir meer empiriese navorsing in hierdie
verband is. Die gevolgtrekking is dat aangesien hierdie studie die moontlikheid vir 'n
ontginnende onderrigmetode vir instrumentale musiekonderrig aandui, hierdie metode
wel meriete het.
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An Approach to Teaching Adults to Play Beginning Piano through the Use of Educational TelevisionFore, Katherine Ellen Moser 08 1900 (has links)
The purpose of this paper is to establish a need for more accessible fine arts courses offered to adults and more specifically in music, to design a series of programs that would give an introduction to beginning functional piano through the use of educational television. The paper includes ten lesson outlines for thirty minute program segments including a pilot script. This educational television series is designed to stimulate the student's continued playing of the piano with guided instruction through class or private lessons. A particular method of piano pedagogy used for educational television is explored. Procedures followed in order to be able to film the project are also covered, It is suggested that a survey in the particular viewing audience area be conducted and tests given to a cross-section of adults before implementation of the program.
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The Beginning Piano Class at the College LevelLeCroy, Jacquelyn Aken 08 1900 (has links)
The problem was to investigate current thoughts concerning the beginning piano class at the college level, Data were collected from published and unpublished materials from 1964 to 1976. It was found that class piano instruction usually occurs in a three- to four-semester sequence, with classes meeting from two to five periods per week, containing from four to twenty-five students. Classification of students is by interview, placement test, and/or audition. Varying room arrangements are used with either conventional or electronic pianos, plus a variety of audio-visual equipment, Course content, with varying emphases, includes sight-reading, functional skills, technique, and repertoire. Teaching techniques used are numerous and varying. Recommendations were submitted for administrators, teachers, and researchers.
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A Fourteen-Week Program for Teaching Beginning Music Reading Through Rhythmic Notation and Pitch Notation to Pre-School Children in Piano ClassesOgilvy, Susan 05 1900 (has links)
The purpose of this study is to develop a fourteen-week program for teaching beginning music reading through rhythmic and pitch notation to pre-school children in piano classes. The historical background for the study discusses man's learning abilities in the group process in music education with the particular reference to class piano and its development and publications by leading authorities concerning class piano and rhythmic training in the classroom. The second chapter contains analyses and summaries of five selected texts pertinent to the study. The findings of research of the five selected texts serve as the groundwork for the development of the program which is contained in the third chapter.
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