This creative project consists of a twenty minute, sixteen millimeter film of children in grades one through six, creatively involved in the process of music making. It is a challenging music instruction which involves speech, movement, dance, singing, instrumental playing and symbolization in building the basic conceptual development. It is based on the philosophy and aims of Carl Orff of Germany, Zoltan Kodaly of Hungary, and the contributions of a number of American educators who have developed and adapted these methods for American children.In addition to specifying and demonstrating some of the innovative techniques involved in guiding children to the discovery of, and sensitivity to the basic elements of music, this project takes into consideration the natural development of the child as well as the natural order of the musical elements.

It has often been said that radical changes are needed in other areas of education, but that there is only one way of teaching music-- that music is different and therefore requires an approach differing from that of other educational fields. However, if music is to be a part of education, then those who teach it must keep in step with the other educational trends. / Typescript. / "August, 1954." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Marian Black, Professor Directing Paper. / Includes bibliographical references (leaves 46-49).

"The general music class is considered by many music educators to be the most challenging area in the profession today. Although not an entirely new concept in education, it has come to represent in the minds of an increasing number of music teachers, as well as general educators, the most direct and effective application of music to the educational program. It has become a custom to think of public school music in terms of performing groups--the so-called "specialties," such as bands, orchestras, and choral ensembles. The present status of school music has been achieved almost exclusively through the success of these organizations, and their importance must not be underrrated. They have a role in education; their future seems assured. Whether they can continue to dominate the entire music curriculum, however, appears doubtful"--Leaf 1. / "August, 1955." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaves 77-79).

No description available.

There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.

Digitized by Kansas Correctional Industries / Department: Music.

Digitized by Kansas Correctional Industries

There is no abstract available for this dissertation.

There is no abstract available for this thesis.

There is no abstract available for this thesis.