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

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.

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.

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.

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.

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.