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Issued also as Thesis (Ph. D.)--Columbia University. / Bibliography: p. 52-53.

Thesis (MMus) -- Stellenbosch University, 2001. / ENGLISH ABSTRACT: Two of the most frequently reported performance problems amongst musicians are memorisation and performance anxiety. For the purposes of this study, memorisation is investigated regarding its importance in a musician's life; different faculties of memorisation are discussed; and practice methods are proposed providing the memoriser with maximum memory security and confidence. Performance anxiety, as a corollary of memory insecurity, is investigated regarding its symptoms, causes, and possible cures. It was found that memory insecurity and extreme performance anxiety result because of insufficient or inadequate practice and/or a lack of trust in the musician's own abilities. Musicians should prepare the best they can and then, during performance, they should put trust in the preparation that has been done. A healthy self-esteem, as well as good health, are requisites for success as a performer. It was also found that performers should concentrate less on the feat of technique and memory, and more on making music. / AFRIKAANSE OPSOMMING: Memorisasie en verhoogvrees is twee van die grootste probleme wat deur uitvoerende musici aangemeld word. Die belangrikheid van memorisasie word ondersoek; die verskillende faktore daarby betrokke word bespreek; en oefenmetodes word voorgestelom die memoriseerder te vergewis van maksimum geheue-sekerheid. Verhoogvrees, as 'n uitvloeisel van memorisasie, word ondersoek ten opsigte van sy simptome, oorsake en moontlike oplossings. Daar is bevind dat onsekerheid betreffende die geheue sowel as ekstreme verhoogvrees die gevolg is van onvoldoende voorbereiding en/of 'n gebrek aan selfvertroue in die musikant se eie vermoëns. Musici moet bloot na die beste van hul vermoëns oefen; tydens die optrede moet daar dan vertroue geplaas word in die voorbereiding wat getref is. 'n Gesonde selfbeeld, saam met goeie gesondheid, is vereistes vir 'n uitvoerende kunstenaar om suksesvol te kan wees. Daar is ook bevind dat uitvoerders minder op die oorwinning van tegniek en geheue moet konsentreer, maar wel meer daarop moet konsentreer om musiek te maak.

Jazz musicians traditionally learned jazz improvisation by transcribing other musicians they admired in order to absorb, assimilate and retain important stylistic elements of jazz. Indeed, many famous jazz musicians have testified to the importance of transcribing as part of their jazz education. By the latel960's, jazz increasingly gained acceptance as a legitimate American genre within academia. As jazz studies programs became more formalized in colleges and universities, a plethora of methods and materials have followed suit. Lately, critics of these programs claim that many of the procedures, methods and materials used have abandoned the aural-imitative tradition. This study examines the current use of and the viability of future jazz education methods based primarily on aural-imitative procedures.Forty-one jazz faculty from universities and colleges throughout the United States participated in an interview process. An open-ended questionnaire survey was used to elicit responses. Each was asked a series of questions directly related to transcribing. The responses were recorded via cassette and were transcribed verbatim. In addition, four music teachers at schools at four schools for the blind were asked a similar series of questions. Their interviews responses were analyzed for similarities and differences.The results suggest that current methods do not contain adequate aural representations and that transcription could be a viable alternative to current methods. A practical system based on the transcription paradigm could and should be developed. Current digital technologies and Internet developments may help facilitate an all-transcription based methodology. Certain recordings and solos have become recognized as `masterpieces' that deserve to be transcribed and studied. The insights gained from school for the blind suggest that certain musical aspects may be beet gained from an aural-centric perspective. / School of Music

Piano proficiency students who are required to memorize music take different approaches in their learning process. They may not be aware of how they memorize or how these approaches are related to their learning style preferences. Seventeen test subjects (N=17) who volunteered from a private university in north central Indiana were _ tested for their learning style preferences and then were given a sample of music to memorize. A video camera recorded the memorization process for observation of the learning approaches each subject used while memorizing. In addition, each subject completed 1) a brief experience and task ease pretest, 2) an interview while observing the video of what took place during the memorization process, and 3) a posttest questionnaire on learning approaches used.The purpose of this study was to observe which learning approaches to memorization were being used by group piano students and which of these were most effective in short memorization tasks. Investigation of existing literature of piano pedagogy found that the most common ways in which pianists memorize are by using aural, visual, tactile and analytical approaches.Subjects who were observed for this research had a tendency-to memorize more from the visual and tactile approaches. Out of the 17 class piano students who were observed, 15 or 88% used visual and or tactile memory as their preferred approach. Students also assessed their own procedure of memorization by rating the approach as to how much they used it. Findings in this posttest questionnaire indicated that the aural and visual approaches to memory were rated by the students as being the preferred ways of memorizing. Thirteen subjects or 76% indicated that they preferred the aural and or visual memory approach to memory.The effectiveness of these approaches was indicated by the subjects receiving a memory performance rating. This research showed that there was more tendency for subjects using visual approach memory to receive the best memory scores (excellent, no errors). This study also indicated that students using the analytical approach to memory tended to have the highest percentage of best performance score (two of three received excellent/no errors scores). / School of Music

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 190-194). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 190-194). Also available on the Internet.

L’objectif de ce travail de recherche est l’étude de la didactique de l’écrit en français comme langue étrangère (FLE) dans le contexte afghan. L’étude a été menée à travers les copies d’un groupe d’étudiants afghans du Département de français de l’université de Kaboul.L’enseignement du français, avec une ancienneté de plus d’un siècle, est repris et est pratiqué dans plusieurs centres à Kaboul et dans quelques provinces. Au niveau universitaire, le Département de français, un des dix départements de langues de la faculté des lettres de l’université de Kaboul, reçoit, depuis 50 ans, les étudiants afghans. Ceux-ci, héritiers d’une culture d’apprentissage traditionnelle et attachés à des idées et à des coutumes anciennes, sont confrontés à un enseignement très différent : communicatif voire actionnel. Dès lors, le processus d’enseignement se trouve fragilisé et les élèves se montrent particulièrement réfractaires à une proposition d'enseignement reposant sur une nouvelle méthodologie. Face à ces étudiants qui ont des profils très différents (niveau socioculturel, profil linguistique, convictions religieuses, origines ethnique et géographique, etc.), comment, en tant qu’enseignant de FLE, peut-on proposer un enseignement efficace du français ? Comment peut-on participer à l’ouverture culturelle des étudiants à travers notre enseignement ? Quels sont les facteurs qui influencent fortement le niveau linguistique initial de nos étudiants ? Puis, quels sont les facteurs qui influent sur leur apprentissage ? Ces questions découlent de la question générale suivante : comment améliorer l’enseignement/apprentissage de la compétence écrite auprès des étudiants du Département de français de l’université de Kaboul ? Pour trouver des éléments de réponse à ces problématiques, nous avons basé toute notre étude sur une observation détaillée du contexte d’apprentissage, du profil des apprenants et de leurs productions écrites, à tous les niveaux du cursus de ce Département de français. Nous avons cherché, ainsi, à déterminer quelles stratégies pourrons-nous adopter pour faire avancer les étudiants afghans vers une meilleure correction de l’écrit ? / This aim of this research was to study the writing didactics of French as a foreign language (FLE) in the Afghan context. The study was conducted through the written work of Afghan students group from the French Department of Kabul University. The teaching of French language with more than a century antiquity is retaken and practiced at several centres in Kabul as well as in some provinces. Furthermore, at university level, the French Department, which is one of 10 departments of literature faculty of Kabul University, is engaged with teaching of French language for over 50 years to the Afghan students. Indeed, the elements of traditional learning culture with old ideas, and customs all together impact negatively the teaching and learning process. Therefore, the teaching process is significantly suffered from weaknesses. Another concern is the reluctance of students to the new teaching methodology proposals. Considering the students socio-cultural background, linguistic abilities, religious beliefs, ethnic and geographical origin, to name a few, how as a teacher of FLE, we can promote an effective French language teaching approach? How we can participate in the cultural opening of students through our teaching? What are the factors that strongly influence the initial language level of our students? Subsequently, what are the factors that influence their learning? These questions are arising from the following major question: how to improve the teaching / learning of written French in order to maximize students’ benefits of the French Department? In order to address to these issues, we have based our entire study on a detailed observation of learning context, learners 'profile and learners' productions, at all levels of the French Department's curriculum of Kabul University. In addition, we are searching to determine which strategy could we adopt to move forward the Afghan students towards better writing correction?

This dissertation tested the usefulness of Stroop-like tests in the study of the memory of second language learners. Two Stroop-like tests (picture-word and word-word) with incongruent stimuli were administered to subjects with high and low proficiency in Spanish. Predictions on the outcome of the tests were made from the point of view of six models of bilingual memory (common store, separate stores, common store to separate stores, bilingual dual-coding, word association, and concept mediation).A 2 x 2 x 2 factorial design with repeated measures on the last two variables was used. The variables were proficiency level: high and low, task: picture-word and word-word, and language condition: within language and between language. The analysis revealed a significant main effect of task and a significant interaction of task x language condition. Two additional interactions were marginally significant at the .10 level: proficiency level x task, proficiency level x language condition.The results did not provide any support for the separate stores, common store to separate stores, and bilingual dual coding models, but did provide partial support for the other and three models. It was concluded that the Stroop-like tests are a promising tool to study the organization of memory in second language (L2) acquisition. / Department of English