Thesis (B.Mus (Hons.)) -- University of Adelaide, Dept. of Music, 1967. / Includes bibliographical references (leaves 119-122).

Thesis (Ph. D.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 350-368).

Data on standardized tests is often used to advocate for the inclusion of music programs in secondary education curriculum. There have been studies that claim to identify a relationship between music participation and higher earned test scores; however, correlation does not necessarily equate to causation. The argument between whether music instruction improves student testing ability or if higher achieving students are attracted to music courses is still prevalent within the music education domain. Executive function represents the processes within the brain that encompass a number of cognitive ability processes used in the transfer of knowledge. These processes are essential to progression and success in education (Caine & Caine, 2006; Chan, et. al., 2008). Research demonstrates that music instruction has the capacity to enhance various executive function processes in young students with previous music instruction and individualized violin training (Bugos, 2010; Ho et al., 2003; Chan et al., 1998). The purpose of this study was to evaluate the effects of secondary music instruction, specifically in the band setting, on executive function processes of processing speeding and working memory. 40 high school students, 20 students who had received previous band instruction and 20 who had not received previous band instruction ages 13 to 18, completed various cognitive and musical assessments to gauge musical ability and cognitive function (measuring attention, working memory, and processing speed). Students from both groups were paired using the Wechsler Abbreviated Intelligence Scale. Analysis of the results demonstrated that students who received prior band instruction demonstrated enhanced processing speed and working memory indices, as well as increased attention abilities.

The purpose of this intrinsic case study was to understand the function and significance of Java Jam--an annual music performance event at a public high school in which students select and rehearse music to perform. Five questions guided the study: How do different groups of Pikeford High School community members view Java Jam? How does Java Jam influence music-making? What are the successes and failures of Java Jam? What are the connections between Java Jam participants and school music? And, how does Java Jam affect the Pikeford High School community? In this study, I provide a detailed description of Java Jam through the perspective of 24 participants representing varied roles among PHS community members: students, teachers, parents, and alumni. The study was bound by both time and place, and data were collected at Pikeford High School during the 2013-2014 school year. Data used in this study consist of personal interviews, a focus group session, observations, and archival data submitted by participants. The research results are presented as both a personal narrative and case description from participant perspectives. This study provides an example of extracurricular alternative music making in which students engage in self-directed learning and peer learning. This study impacts the field of music education in that it demonstrates positive outcomes from an event such as Java Jam, including increased student autonomy, space for musical creativity, and increased confidence among student participants. I present additional implications for the field of music education, music teacher education, and future research to close the study. / Music Education

Abstract not available

No description available.

This collection of works involved examinations of two phenomena that currently impact music education in the United States and constitute challenges for both pre-service and in-service music educators. Article one is an exploration of college aged musicians, their experiences with critical commentary and stressful scenarios encountered in and through applied music studies, and the role that mental toughness might play in these experiences. This study examined the perceptions of college level studio teachers and their students. Results of the study indicated that significant differences in mental toughness scores existed between the studio teacher group and the students (as a whole) and between the studio teacher group and 5 of the 6 student groups. Significant negative correlations were found between students’ mental toughness scores and answers to three questions related to teacher criticism, student anxiety in lessons, and students’ frequency of hurt feelings following feedback about their performing. Article 2 examined the perceptions of in-service music educators regarding aspects of education law. Participants included music educators (N = 152; Mage = 41.7) from each of the 50 states whose teaching assignments occur primarily at the high school (grades 9 – 12) levels. Results indicated that these participants viewed their undergraduate teacher training programs, and graduate studies, as having included very low levels of legal content. Few of the participants indicated receiving additional education and training from a legal specialist, and taking part in sessions on legal topics offered by their school districts and professional associations. The legal issues receiving the greatest numbers of selections as having been experienced by the participants included 5 aspects of copyright law, religious music/lyrics in educational and performance material, and protection of student health (i.e., medical) information. The total number of legal issues selected was significantly correlated with the number of traveling groups (ensembles) with which the teachers were associated. Teachers of marching band indicated a greater number of total legal issues having been dealt with in their professional experience. And teachers of orchestra demonstrated fewer total numbers of legal issues experienced. In spite of the significant correlations, total expressions of relevant legal issues were largely unassociated with teachers of specific ensemble types.

The purpose of this study was to specify and test a model detailing (a) gender, (b) previous elective music experience, (c) school, (d) music self-concept, and (e) music values as predictors of music enrollment and the initial juncture of school-sponsored elective music participation. In the event that a model with adequate fit was retained, a further purpose of this study was to calculate the direct, indirect, and total effects of each predictor, thereby determining each predictor's relative contribution towards explaining variance in elective music enrollment. Participants included fifth-grade students (N = 148) from two elementary schools. Data were gathered via administration of the Motivators of Elective Music Participation Questionnaire, and by accessing middle school elective enrollment records. The proposed expectancy-value model of elective music participation demonstrated excellent fit and was retained for interpretation. Overall, the model accounted for 34.4% of the variance in elective music participation. The greatest total predictor of elective music participation was previous elective music experience, followed closely by music values. Music self-concept, gender, and school played negligible roles in predicting whether students opted in or out of sixth-grade music electives.