Abstract This study applies qualitative and quantitative research to investigate the relationship and effects off-campus performances have on students, teaching activities, school administration, and social education. Data was collected in the form of questionnaires and interviews. The questionnaires targeted the 2nd and part of first and third graders of music-talented classes of the seven senior high schools in southern Taiwan. Besides, interviews of teachers and administrators were given to compare each school¡¦s performance styles so as to research the phenomenon of off-campus concerts and operation. The results of this study are as follows: 1. Students¡¦ recognition and satisfaction towards off-campus performances are in direct ratio with students¡¦ involvement 2. Excellent off-campus concerts represent successful music instruction while successful music instruction reflect directly on high performance level at concerts 3. Off-campus performances should be supported by school administration, while school administration exhibits its function in the performances. 4. The styles and repertoires of off-campus concerts manifest each school¡¦s genre. 5. Off-campus concerts function as social education through student appreciation, demonstration and involvement. 6. Each of the seven targeted schools has unique characteristics in off-campus performances and instruction. It is the intention of this study to pose suggestions for the reference of teaching activities, administrators, and concerts of music-talented class. Keywords: senior high school music-talented class, off-campus performances, operation

Dissertation (Ph.D.)--Auburn University, 2009. / Abstract. Includes bibliographic references (p.98-108).

No description available.

In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task. / Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me. / Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1983.

No abstract available. / Thesis (M.Mus)-University of Natal, Durban, 1976.

Music in the curricula, music in the schools, supportive materials, and facilities were examined in six out of seven South African educational jurisdictions during the late 1970's. Official views were compared with what actually occurred. A profile of the teachers involved included their training, responsibilities, and status within the educational system. The detailed information was compared with trends appearing in the 1980's. / Thesis (M.Mus.)-University of Natal, Durban, 1987.

There is no abstract available for this thesis.

There is no abstract available for this thesis.

The primary purpose of this study was to compare two methods of instruction for teaching music listening to upper elementary children--an experimental approach utilizing the 4MAT instructional model of Bernice McCarthy and a conventional approach based on textbook materials. The investigator employed the 4MAT model for incorporating a holistic and whole-brain approach into music listening instruction. The study compared mean differences on two dependent variables, attitude and achievement test scores, between two groups (teaching methods) and two grade levels (fourth and fifth grades). Analyses of variance (ANOVA) were used to assess both primary and secondary data regarding gender, grade, and teacher. The researcher also analyzed subjective observations of participating teachers.Subjects were 440 fourth and fifth grade students from two suburban schools randomly assigned to intact classes and equally divided between grades to 4MAT or conventional instruction. Each class heard three classical music selections within a six-lesson framework. The investigator assessed subjects' attitudes toward classical music and their music knowledge after instruction.No significant effects resulted for instructional method. Further investigation of gender, grade, and teacher suggested some interactions for attitude: attitudes of 4MAT-instructed males of Teacher A tended to be more positive than those of conventionally-instructed males; the fourth grade sample produced greater gains for Teacher A in the 4MAT condition and for Teacher B in the conventional condition; three-fourths of the fifth grade cells in the 4MAT condition showed gain, and three-fourths in the conventional condition showed decline.Regardless of instructional method, males showed a significantly more positive attitude than females; fifth grade subjects tended to be more positive than fourth grade subjects; significant difference in attitude between students of the two teachers might be ascribed to socioeconomic standard or academic achievement level.Conclusions: (1) furnishing students with opportunities for hearing classical music is likely to produce improved attitudes toward classical music; (2) if the goal of music listening instruction is to provide students with cognitive and affective experiences, and to benefit from findings regarding musical behavior, brain research, and individual differences, the 4MAT instructional model offers a viable approach for listening lessons. / School of Music