Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Thesis (M.S.)--Boston University / It was the purpose of this study (l) to explore certain educational theories evolved from concepts of the interrelations of the arts and utilize them as bases for the development of positive attitudes, understandings, and interests in music for students at the secondary shcool level; (2) to evolve a sound educational approach to the academically oriented content reflected in the musical expressions of the 17th and 18th centuried; (3) to utilize the audio and visual aspects of the art expressions of these centuries as audio-visual experiences illuminating the socio-economic, political, cultural, and philosophical shaping forces of these eras; (4) to make perceptible the manner in which the 11 shaping forces 11 helped to determine the musical content, style, elements and expression of each period; and (5) to use this knowledge as a basis for the intensive study of outstanding musical expressions in Baroque, Rococo, Expressive, Storm and Stress, and Classical styles. Method of procedure. The documentation for the conceptual approach of this study led to the investigation of sources from various disciplines. Ontological and empirical evidence was presented to define and reveal the educational and cultural values inherent in the audio-visual approach of this study. Discussion followed of the findings, which appeared to sustain the necessary, dynamic, and positive educational values inherent in this approach to music listening [TRUNCATED]

Thesis (M.M.)--Boston University.

The purpose of this study was to investigate part-time music faculty in higher education in Virginia. Part-timers are a significant part of music programs in Virginia where they make up fifty-three percent of the music faculty and outnumber the music full-timers. The results of this study suggest that perhaps the discipline of music may use more part-timers than any other discipline.;While the body of literature on part-timers in general is small, scholars such as Howard P. Tuckman, Judith M. Gappa and David W. Leslie have begun significant research and reporting. The literature on part-time music faculty, however, is virtually non-existent, and this study was an attempt to add to the literature on part-timers in general, and to begin a body of knowledge on music part-timers.;The population for this study included department chairpersons and music part-timers from twelve of Virginia's senior institutions of higher education. Questionnaires were used to gather data from chairpersons and questionnaires and interviews were used to gather data from music part-timers.;The study presented findings in response to eight specific research questions dealing with music part-timers in Virginia as the following topics were researched: who they are; their employment profiles; how they fall into Gappa and Leslie's taxonomy; their level of satisfaction with their involvement; when and why they are employed, and what external forces affect their employment; how much of the teaching in Virginia's institutions they do; what courses they teach; how fiscal pressures affect their use; employment policies and practices; differences in their treatment based on the classification of institution in which they teach (Carnegie Typology); whether their teaching is viewed to be inferior to that done by their full-time colleagues; and differences between this study and the national study done by Gappa and Leslie in 1990-91.;The study led to implications for change in such areas as: (1) better communication with administrators--especially with the chairpersons, (2) a breakdown of the barriers between part-timers and full-timers, (3) more equitable salaries, (4) benefits available--especially health insurance, (5) inclusion of part-timers in institutional and departmental governance, (6) job security, (7) adequate orientation programs, (8) consistent monitoring and evaluation, (9) appointments made with careful consideration as early as possible through written contracts, and (10) adequate support services and development opportunities.

The purpose of this research was to determine whether folk songs versus songs composed for music education texts would improve the music memory and performance skills of kindergarten and first grade students in a Miami Dade County Public School as measured by “The Primary Grades Music Skills Test” (PGMST). The folk songs selected for this study are multi-ethnic. A sample of 80 students, 40 from kindergarten and 40 from first grade was drawn from the Lincoln-Marti School, an affiliate private school of the Miami Dade County Public School System. Within each grade level, 20 students composed the Experimental group and 20 the Control group (N=80). Before attempting this project, a Primary Grades Music Skills Test designed and piloted by myself was administered to determine reliability. Results were positive, students understood and were able to perform all tasks in the pilot test. Both, Experimental and Control groups for kindergarten and first grade were then administered the PGMST to determine baseline skills. An instruction period consisting of 20 consecutive daily music lessons of 20 minutes duration each, followed the Pretest. All lessons included 10 minutes of rudimentary music drills and 10 minutes of teaching four folk songs to the Experimental group and four songs composed for music education texts to the Control group. Upon completion of the instruction period, both the Experimental and Control groups were administered the PGMST as a Posttest in order to measure acquired musical achievement. Posttest findings showed positive gains in the mean scores for correct responses in both groups. On the Posttest, the kindergarten Experimental group exceeded the kindergarten Control group by a margin of 20.31%. The first grade Experimental group exceeded the first grade Control group by a margin of 18.43%.

<p>Syftet med denna uppsats är att undersöka hur två Idoldeltagare och två sånglärare upplever TV-programmet Idol utifrån ett lärandeperspektiv, vilket innefattar frågor kring sång, identitet och socialisation. I uppsatsen presenteras vårt resultat från fyra intervjuer, samt litteratur kring musik och musikliv, musik och media samt musik och identitet.</p><p>Litteraturen beskriver att lärande inte nödvändigtvis behöver skapas i skolan utan också kan ske på andra platser.</p><p>Studien visar att deltagarna i Idol upplever att de har lärt sig mycket. De anser att de har fått musicera tillsammans med andra, träffa människor inom musikbranschen, arbeta med sångpedagoger, samt lära sig hur TV.</p><p>Också sånglärarna anser att deltagarna i Idol lär sig och att programmet är ett bra tillfälle för dem som vill synas och ”komma fram”. De påpekar däremot att lärandet handlar för lite om musiken och mer om branschen och TV. Exempelvis säger en av intervjupersonerna att sången blir ”framkrystat” och oäkta på grund av att Idoldeltagarna tvingas ”leverera” enbart för TV.</p><p>Vid analysen av studien lyfts Idols koppling till ett informellt lärande fram. Media tar allt mer plats i dagens samhälle och är en stor del av ungdomars identitetsbygge. Här märks skillnader mellan sånglärarna och Idoldeltagarna i hur de uppfattar att man lär sig, var man lär sig och vad lärande är bra för. I olika situationer, som i musiksalen möts olika erfarenheter från olika former av lärande.</p>

Syftet med denna uppsats är att undersöka hur två Idoldeltagare och två sånglärare upplever TV-programmet Idol utifrån ett lärandeperspektiv, vilket innefattar frågor kring sång, identitet och socialisation. I uppsatsen presenteras vårt resultat från fyra intervjuer, samt litteratur kring musik och musikliv, musik och media samt musik och identitet. Litteraturen beskriver att lärande inte nödvändigtvis behöver skapas i skolan utan också kan ske på andra platser. Studien visar att deltagarna i Idol upplever att de har lärt sig mycket. De anser att de har fått musicera tillsammans med andra, träffa människor inom musikbranschen, arbeta med sångpedagoger, samt lära sig hur TV. Också sånglärarna anser att deltagarna i Idol lär sig och att programmet är ett bra tillfälle för dem som vill synas och ”komma fram”. De påpekar däremot att lärandet handlar för lite om musiken och mer om branschen och TV. Exempelvis säger en av intervjupersonerna att sången blir ”framkrystat” och oäkta på grund av att Idoldeltagarna tvingas ”leverera” enbart för TV. Vid analysen av studien lyfts Idols koppling till ett informellt lärande fram. Media tar allt mer plats i dagens samhälle och är en stor del av ungdomars identitetsbygge. Här märks skillnader mellan sånglärarna och Idoldeltagarna i hur de uppfattar att man lär sig, var man lär sig och vad lärande är bra för. I olika situationer, som i musiksalen möts olika erfarenheter från olika former av lärande.

Are the students in the fifth grade influenced by their teacher’s music style?

<p>Are the students in the fifth grade influenced by their teacher’s music style?</p>

Thesis (M.M.)--University of Florida, 2003. / Title from title page of source document. Includes vita. Includes bibliographical references.