Thesis (D. Mus. Arts)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 169-178).

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 62-67). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 62-67). Also available on the Internet.

The purpose of this study was to evaluate the effects of a Self-Regulated Learning Music Practice Strategies Curriculum (SRL-MPSC) on Self-Efficacy in music practice, Self-Regulation in music practice, Music Performance Achievement, Processing Speed, and Meta-Cognitive Awareness for high school instrumentalists. The goal of the fifteen-day music training using the SRL-MPSC, was to teach adolescents how to practice more effectively, think meta-cognitively and develop musical independence while enhancing self-efficacy, performance achievement, processing speed and meta-cognitive awareness. Results of this study suggest that a 15-day music training intervention using the Self-Regulated Learning Music Practice Strategies Curriculum, significantly enhanced participant’s Music Performance Achievement, F, (1,33) = 11.28, p =.002, d = 1.98, self-perceptions of Self-Regulation in music practice, F (1,33) = 16.91, p = .001, d = 1.98. and Self-Efficacy in Music Practice F (1,33) = 13.81, p =.001, d = 2.10. Based upon the results of this study, teaching students to practice effectively using strategies, cooperative group activities along side daily rhythmic audiation, sight reading and scale study, will develop independent musicianship, increase confidence and musical competence, broaden the literature level and increase student motivation to practice.

The purpose of this study was to build upon the growing body of knowledge relating to music improvisation by investigating the processes used by high school music instrumentalists when improvising music and the factors that influence those processes. Many factors contribute to music improvisation skill and they must all be taken into account when investigating the music improvisation processes of high school music students. The theoretical framework of this study was based on the complex interactions that take place simultaneously between three identified ensembles of factors. The three ensembles of factors were: I . The student profile which included general information and detailed aspects of prior music experience. 2. Enabling skills which included audiation ability, the ability to play music by ear and kinaesthetic abilities. 3. Improvisation processes including, creative processes, cognitive strategies and group or solo contexts for music improvisation. Taking into account the exploratory nature of this study, the single embedded case study design, involving 12 high school music instrumentalists aged between 13 and 15 years, offered the necessary potential to cope with the wide variety of evidence. The formal survey was used to gather information that would establish a detailed profile of each student. The Test of Ability to Audiate and Ability to Play by Ear (TAAAPE) was used to measure students' ability to audiate and play music by ear. Similarly, in order to explore the relationships between improvisation processes, enabling skills and the profile of each student, the Improvisation Ability Test (IAT) was used. This test provided authentic music improvisation experiences in both group and solo contexts. Both tests were scored by two independent judges and the researcher. Finally, the focused interview was used to establish the cognitive strategies used by the students when undertaking the various music improvisation tasks. The ability of the case study design to handle both qualitative and quantitative data proved to be useful in this study. Two major findings emerged from the analysis of the data: 1. The first was that the processes used by this small group of students when engaged in music improvisation were unpredictable. 2. The second major finding relates to evidence that supports the theory of an interaction between the three ensembles of factors as presented in the theoretical framework of this study. However, contrary to what might have been expected, the study further indicated that the interaction of these factors, in the context of the music improvisation processes used by these individual students, did not follow or produce any specific patterns. It was not within the scope of this study to seek the emergence of a model for teaching music improvisation to high school music instrumentalists. However, it has opened the path for further research which could result in the development of such a model.

Magister Scientiae (Physiotherapy) - MSc(Physio) / Playing related musculoskeletal disorder (PRMD) is common among instrumentalists, professionals, amateurs and music students with a prevalence ranging from 39-47% with an impact on playing and performance. This is synonymous to the prevalence of musculoskeletal disorders among other work population. Risk factors such as lack of warm ups, awkward posture, long playing hours and bad techniques has been consistently indicated as risk factors influencing the incidence of PRMDs among instrumentalists. The aim of this study is to design a warm up programme for instrumentalists. The study population and sample are instrumentalists at the Centre for Performing Arts, University of the Western Cape. A cross sectional study design with a quantitative approach was utilized in this study to determine the prevalence, severity, distribution of PRMDs and its association with quality of life. All the instrumentalists learning or playing a musical instrument of the Centre for Performing Arts was approached to participate in this study. In the first phase of the study, a self administered questionnaire was used to collect data regarding prevalence, distribution and the severity of PRMDs and health related quality of life. The instruments for this study are the standard NORDIC questionnaire for musculoskeletal disorders to determine pain distribution and prevalence, the visual analogue scale to determine the pain severity and the WHOQOL –BREF, a quality of life questionnaire and an adapted questionnaire to determine the knowledge of instrumentalists about injury prevention strategies. The second phase of the study, a systematic review of evidence was done on the pattern of warm up and practice habits of instrumentalists. The third phase of the study to design the content of the study was done using a Delphi study. The Statistical Package for Social Sciences (SPSS) was used for descriptive and inferential statistics. Chi square was used to determine the association of prevalence, distribution and severity on quality of life. Alpha level was set at 0.05. Ethical clearance and permission to conduct study was sought, written informed consents from participants was sought clearly stating the right to participate and withdraw from study was respected and anonymity and confidentiality was be ensured. The results of the study show that 82.4 % lifetime prevalence and current prevalence of 23.5 % among instrumental musicians in a Centre for Performing Arts. The shoulder (41.2 %), neck (29.4 %) and the wrists and hands (29.4%) are the mostly affected region on the body. The most common symptoms are tightness and soreness. However, the results of the systematic review shows that there is a lack of operational term for warm up in the performing arts and this therefore could be responsible for the variations in the influence of warm up on the prevention of PRMDs. The content of the warm up programme was designed using a Delphi study and stretching and postural awareness were included with musical warm up as part of a regular warm up exercise, although, consensus was not reached on the duration of the warm up programme. Strengthening and conditioning were included to in a different exercise program done three times per week. Education on injury prevention strategies were also included in the programme and the mode of instruction agreed on was active learning and group instruction in classroom. The role of warm up exercise in the prevention of PRMDs using this model could reduce the incidence of PRMDs. However, it is important to note that the programme should be tested in order to determine the overall effect it has on PRMDs. / South Africa

The purpose was to investigate the career realities and occupational concerns of successful full-time performing instrumentalists. Four research problems were formulated; (1) the establishment of a demographic profile of musicians who perceived themselves successful; (2) the determination of the musicians' career realities; (3) the determination of the musicians' occupational concerns; and (4) a comparison of the relationship of the demographic profile to the career realities and occupational concerns. A pilot study was used to develop a questionnaire and an interview schedule. The sample for the main study was chosen by the questionnaire and consisted of twenty musicians, five each in the musical categories of jazz, classical, commercial and pop. To resolve research problem one, the questionnaire also collected general demographic data. Research problems two and three were fulfilled by an interview schedule based upon career realities and occupational concerns cited in previous sociological studies. The realities and concerns were either confirmed or refuted by each interviewee. The career realities were role conflict, career contingencies, musical labels, life style, hierarchies, audience relationships and environment. The occupational concerns were mobility, status, entrapment, personal contacts, dependency, security, competition, economic issues, working conditions, travel requirements, appearance, management control, auditions, maintenance of skills and training relevancy. The interviews were taped and transcribed by a court reporter and included in the text. An analysis of the interviews in relation to the demographic data fulfilled research problem four. Results showed that career contingencies, mobility and life style were positive influences for the sampled musicians. Also, a "hierarchy of expertise" appeared as the ultimate occupational hierarchy for the sampled musicians. Furthermore, a "hierarchy of dependency," based upon instrument played, affected the sampled musicians' attitudes toward their careers. It was concluded that performers who were devoting their full time to performance were more tolerant of imperfect career conditions than had been cited in previous studies .

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