Thesis (Ph. D.)--University of Washington, 1999. / Vita. Includes bibliographical references (leaves [225]-239).

Thesis (Ed.D.)--Teachers College, Columbia University, 1996. / Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Richard Charles Sang. Includes bibliographical references (leaves 113-116).

This study was made, first, to compile the prerequisites and requirements for a master's degree in music from sixty-two of the colleges and universities of the National Association of Schools of Music; second, to compare the standards found from the observation of these data with those requirements at North Texas State Teachers College; third, to secure such information as would be useful in improving the graduate curriculum in the Department of Music at North Texas State Teachers College. It is the further aim of this investigation to aid any student interested in advanced study in any field of music to determine which college or university offers the most appropriate curriculum for his present need. This is the first study, as far as the investigator knows, ever made of this particular problem.

<p>I denna undersökning har jag försökt ta reda på (1) om det är någon skillnad i lärares och elevers syn på varför man bortförklarar sig, (2) varför elever kan känna att de måste bortförklara sig inför sin lärare och (3) vilken som är den vanligaste bortförklaringen på instrumentallektionen. Tretton instrumental- och sånglärare på två olika kommunala musikskolor, en i södra och en i västra Sverige, och nio elever som går sitt sista år på estetiska programmet på en skola i västra Sverige, har deltagit i undersökningen. Enkäterna innehåller samma frågeställningar både för lärare och elever men skiljer sig från varandra på så vis att de är anpassade efter målgruppen.Svaren visar tydligt att tidsbrist är den bortförklaring som både lärare och elever använder frekvent på instrumentallektionen. Svaren på de båda andra grundfrågorna är i stort sett samstämmiga mellan lärare och elever med enbart vissa avvikelser i fråga om prioritering av anledningar.</p> / <p>The aim of this study is to examine (1) whether there is a difference between teachers’ and pupils’ opinions on making excuses, (2) why pupils feel that they have to make up excuses to teachers and (3) which is the most common excuse in the context of instrumental lessons. Thirteen instrumental and voice teachers from two different public schools of music, one situated in the south and the other in the west of Sweden, and nine seniors of the Arts Programme at one of the upper secondary schools in west Sweden, have participated in this survey. The questionnaire contains the same questions for both teachers and pupils but it differs in a way that it is adjusted to these two focus groups. The results highly indicate that a lack of time is the excuse both teachers and pupils often use at instrumental lessons. The results obtained from the other two questions are mainly identical, except for a small deviation concerning the priority of different reasons.</p>

I denna undersökning har jag försökt ta reda på (1) om det är någon skillnad i lärares och elevers syn på varför man bortförklarar sig, (2) varför elever kan känna att de måste bortförklara sig inför sin lärare och (3) vilken som är den vanligaste bortförklaringen på instrumentallektionen. Tretton instrumental- och sånglärare på två olika kommunala musikskolor, en i södra och en i västra Sverige, och nio elever som går sitt sista år på estetiska programmet på en skola i västra Sverige, har deltagit i undersökningen. Enkäterna innehåller samma frågeställningar både för lärare och elever men skiljer sig från varandra på så vis att de är anpassade efter målgruppen.Svaren visar tydligt att tidsbrist är den bortförklaring som både lärare och elever använder frekvent på instrumentallektionen. Svaren på de båda andra grundfrågorna är i stort sett samstämmiga mellan lärare och elever med enbart vissa avvikelser i fråga om prioritering av anledningar. / The aim of this study is to examine (1) whether there is a difference between teachers’ and pupils’ opinions on making excuses, (2) why pupils feel that they have to make up excuses to teachers and (3) which is the most common excuse in the context of instrumental lessons. Thirteen instrumental and voice teachers from two different public schools of music, one situated in the south and the other in the west of Sweden, and nine seniors of the Arts Programme at one of the upper secondary schools in west Sweden, have participated in this survey. The questionnaire contains the same questions for both teachers and pupils but it differs in a way that it is adjusted to these two focus groups. The results highly indicate that a lack of time is the excuse both teachers and pupils often use at instrumental lessons. The results obtained from the other two questions are mainly identical, except for a small deviation concerning the priority of different reasons.

This dissertation examines the role of Zilphia Horton (1910-1956) in helping to establish the use of music as a powerful tool to unify and train groups involved in social reform at seminars led by Highlander Folk School. In engaging in what has been termed the “mobilization of music,” Mrs. Horton was active in labor disputes, training seminars in the United States and Canada, and the formation of women’s union auxiliaries from 1935 until 1956. The study uses correspondence written by Horton to her husband, Myles Horton; business letters to labor union officials and contributors to songsters; and writings revealing her methodology for compiling songsters, all of which are found in the Tennessee State Library and Archives and the Wisconsin Historical Society archives. The study will demonstrate the way in which Horton used music on picket lines and seminars by drawing on a long-standing tradition of using contrafacta applied to Appalachian music, hymns, spirituals, and other folk musics of the United States. Her use of traditional folk song and dance also created unity in groups that visited Highlander Folk School. Horton established a tradition of folksong as protest music that influenced the methodology of later music directors at Highlander Folk School, particularly the use of music for social reform during the Civil Rights Movement of the late 1950s and early 1960s.

This study analyzes the music departments of Kansas public community colleges (1) to ascertain whether those responsible for music curricula agree that general education is a priority, and (2) to evaluate how well Kansas community college music departments meet the needs of general education music students compared to the guidelines for general music education established by the National Association of Schools of Music and The College Music Society. The study addresses the broad issues related to music in general education: (1) academic music courses, (2) faculty assigned to teach these courses, and (3) performance opportunities for students other than music majors.This study presents data compiled from surveys mailed to community college music department spokespersons at each of the nineteen community colleges in the State of Kansas. Potential respondents were selected from the full-time music faculty list provided by the Kansas Association of Community Colleges. For purposes of this study, general education music courses are defined as academic courses, performing ensembles, and private study designed for students not majoring or minoring in music. Sixteen colleges responded, resulting in an eighty-four percent response rate.Kansas community college music department respondents prioritized music curricula functions as: (1) transfer of music majors/minors to four-year schools; (2) general education opportunities; (3) community service; (4) vocational training; and (5) remedial education. Although only three community colleges in Kansas report belonging to the National Association of Schools of Music, and in spite of the fact that a majority of institutions give highest priority to the major/minor transfer student, the state's community colleges' music curricula offered to the general-education student compare favorably to both NASM and CMS standards. / School of Music

Most states in the country have adopted a broad P-12 licensure for music teacher certification (Henry, 2005). This broad licensure puts a strain on music teacher education programs. Faculty create degree programs which must include coursework from internal and external influencers, all while trying to create a curriculum for preservice teachers that incorporates a wide breadth of topics, balanced with enough depth for teachers to be prepared for success in the profession. Harsh criticisms have risen about music teacher education programs shortfalls in trying to strike a balance between breadth and depth (Forsythe, et. al., 2007; Legette, 2013; Leonhard,1985). Much of the content within a music teacher education program reflect guidance from and is approved by a single external influence–the National Association of Schools of Music (NASM). The NASM is the national accrediting agency for schools of music who voluntarily choose to subscribe to this oversight. Their accreditation standards are the most recognized and supported in the country, and because of that accrediting function, NASM has great power and influence over music programs in higher education (Ester & Brinkman, 2005). However, research informing the requirements from the NASM and their effectiveness are scarce (Forsythe et. al., 2007). The purpose of this research is to explore early-career music educators' perceptions of the value, effectiveness, and relevance of their NASM accredited undergraduate music studies in preparation for teaching. A marketing research approach and subsequent analysis provides empirical evidence of novice music educator's perception of the efficacy of teacher preparation curricula as they correspond to each NASM guideline. Study participants (n=36) were early-career teachers (1-3 years professional experience) from the National Association for Music Educators Northeast Region who responded to a survey request. In the survey, participants used a 1-5 Likert-type scale to rate the importance of NASM competencies to their first years of teaching and the instructional performance of their music teacher education program. Lastly, participants rated the overall importance and performance of their music teacher education programs. Survey results indicate the overall average perceived importance of all music competencies from the NASM in music teacher education programs (MTEP) are rated higher than the overall perceived performance of instruction (3.61, 2.81). Analysis of the results also revealed a discouraging gap between the high importance of general, vocal, and instrumental music curriculum knowledge and the less than sufficient performance by music teacher education programs. A similar gap in laboratory and field teaching experiences in individual, small group, and whole group settings was identified. The results of this study indicate a need for more reflective research into music teacher education programs and the competencies required by the National Association of Schools of Music. / Music Education

Denna studies syfte är att kartlägga förekomsten av fysiska besvär hos tvärflöjtlärare på Sveriges kommunala musik- och kulturskolor samt deras kunskap om, användning av och undervisning om ergonomi och förebyggande av skador. De frågeställningar som tas upp i arbetet är hur vanligt förekommande det är med fysiska besvär bland tvärflöjtlärare, huruvida de har fått adekvat ergonomikunskap för den profession de utövar, om de arbetar med förebyggande åtgärder mot fysiska besvär och i vilken utsträckning de inkluderar ergonomi i sin undervisning. Studien är en kvantitativ surveyundersökning och den genomfördes i form av en webb-enkät. Resultatet visar att 49 % av de tillfrågade tvärflöjtlärarna lider av fysiska besvär som de kopplar till tvärflöjtspelet. Besvären sitter framförallt i axlar, nacke/hals och rygg. 60 % av tvärflöjtlärarna arbetar med förebyggande åtgärder mot fysiska besvär, varav de vanligaste vardagliga åtgärderna handlar om att ta regelbundna pauser under tvärflöjtspelet och att regelbundet utöva någon fysisk träningsform. De vanligaste ergonomiska momenten som lärare tar upp med sina elever är övningsrutiner, kropps- och instrumenthållning, stretch- och avslappningsövningar samt vikten av fysisk träning. Resultatet visar även att många tvärflöjtlärare skulle vilja eller behöva bättre kunskaper om ergonomi eftersom musikutbildningar generellt förbereder musiker dåligt på de kroppsliga utmaningar som yrkeslivet innebär. I slutdiskussionen poängteras även att sjukvården behöver få bättre kunskap om musikerskador för att dessa ska kunna förhindras och botas, och att musiklärares arbetsvillkor måste uppmärksammas för att antalet skador ska kunna minimeras. / The purpose of this study is to map the occurrence of physical ailments among flute teachers in Swedish community schools of music and art, as well as their knowledge of, their use of and their teaching in ergonomics and injury prevention. The questions raised are how commonly occurring physical ailments are among flute teachers, whether or not they have received adequate knowledge in ergonomics for the profession they practice, if they work with preventive measures against physical ailments and to what extent they include ergonomics in their teaching. The study is a quantitative survey in the form of a web questionnaire. The results show that 49 % of the surveyed flute teachers suffer from physical ailments, which they connect to flute playing. The problems are mainly located in the shoulders, the neck and the back. 60 % of the flute teachers work with preventive measures against physical ailments, of which the most common everyday actions are regular breaks during flute practice and physical exercise on a regular basis. The most common ergonomic factors that teachers communicate to their pupils are practice routines, body posture, instrumental grip, stretching and relaxation exercises and the importance of physical training. The results also show that many flute teachers would want or need better knowledge of ergonomics, because music education generally prepares musicians poorly for the physical challenges of the professional life. In the concluding discussion is emphasized that healthcare needs to be better informed of musicians’ injuries for these to be prevented and cured, and music teachers’ working conditions require attention to minimize the number of injuries.

This study is part of the research developed in the Post Graduation Education Program of the Federal University of Santa Maria, in the line of research in Education and Arts - Musical Education - for the FAPEM - Formation, Action and Research in Musical Education. This study verified that varied technological resources are evident at schools of music, allowing that teachers to keep in touch with specific technology in your pedagogical action for the music education. The teachers that acting in this model of school have different professional background and approach in your classes varied types and styles of music, in some cases, transiting for more than a type of technological resource, however making the interaction between its, however using some specifically. As cause and consequence of the dialogues carried through with eight citizens, the questionings had appeared that had guided this qualitative research, that it objectified to investigate as occurs the use of technological resources in practical of education of the music of the operating professors in three schools of music of Santa Maria, particularizing the context of the relations that if establish between musical education, musical learning and the job of technological resources to mediate the practical teachers in music of the same ones. To answer to these questionings, the research if considered to verify, from data collected with the use of matrix of half-structuralized interview, how the music s teachers learn to use the musical technology and how to apply it in your diary education practice, above to investigate which are the criterions used for these music s teachers to choose which technological resources must be use or not to use to help the teaching of music, as well as to search how the technology can mediate the teaching of music in the three schools investigated in Santa Maria, Rio Grande do Sul. In the conclusion of this research, there is a growing care of the music s teachers that acting in the searched schools regarding your act of learning and technological update, intending the adequate utilization of the technological resources that they have available to teach music. Gone by the initial euphoria of the technological revolution in the education, is the time of to make know the background of the professionals that work to inserting the technologies in your Musical Education practice as a determinate point in the relation Technology + Musical Education. This search intents to contribute with the process of to learn and to teach of the Musical Education, specifically with reflections about use of the technologies as mediate of these process by the teachers that acting in music s schools. / Este estudo é parte das pesquisas desenvolvidas no Programa de Pós Graduação em Educação da Universidade Federal de Santa Maria, na linha de pesquisa em Educação e Artes Educação Musical pelo FAPEM Formação, Ação e Pesquisa em Educação Musical. Parte da constatação de que recursos tecnológicos variados se fazem cada vez mais presentes nas escolas de música pesquisadas neste trabalho, tornando inevitável, para os professores atuantes nelas, o contato diário com tecnologias específicas em suas ações pedagógicas para o ensino de música. Os professores que atuam nestas escolas possuem formação profissional variada e abordam em suas aulas variados tipos e estilos de música, em alguns casos, transitando por mais de um tipo de recurso tecnológico, ora fazendo a interação entre eles, ora utilizando algum especificamente. Como causa e conseqüência dos diálogos realizados com oito sujeitos, surgiram os questionamentos que guiaram esta pesquisa qualitativa, que objetivou investigar como ocorre a utilização de recursos tecnológicos nas práticas de ensino da música dos professores atuantes em três escolas de música de Santa Maria, focalizando o contexto das relações que se estabelecem entre educação musical, aprendizagem musical e o emprego de recursos tecnológicos para mediar as práticas docentes em música dos mesmos. Para responder a estes questionamentos, a pesquisa se propôs a verificar, a partir de dados coletados com o uso de matriz de entrevista semi-estruturada, como os professores de música aprenderam a utilizar tecnologias musicais e como as empregam em suas práticas educativas diárias, além de investigar quais são os critérios empregados por estes professores de música para escolherem quais recursos tecnológicos devem ser utilizados ou não para auxiliar o ensino de música, bem como pesquisar o papel mediador das tecnologias no ensino de música nas três escolas pesquisadas em Santa Maria, Rio Grande do Sul. Como conclusão desta pesquisa, nota-se uma crescente preocupação dos professores de música atuantes nas escolas pesquisadas, no que se refere à sua aprendizagem e atualização tecnológica, objetivando a utilização adequada dos recursos tecnológicos que eles dispõem para ensinar música. Aponta-se que, passada a euforia inicial da revolução tecnológica na educação, é chegado o momento de focar a atenção na formação dos profissionais que trabalham inserindo as tecnologias em suas práticas no campo da Educação Musical como ponto determinante na relação Tecnologia + Educação Musical. A pesquisa pretende contribuir com os processos de ensinar e aprender da Educação Musical, em específico com reflexões acerca do emprego de tecnologias como mediadoras destes processos pelos professores que atuam em escolas de música.