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This chapter demonstrates how distinct positions in “Didactics” structure lessons in general, even down to structures in interaction. Another focus lies in the role of assessment in a comparison between the Lower-Saxony- and the Scottland-Lesson. It can be shown that the role of assessment that is proposed by the school administration influences classroom action, again down to structures of interaction.

Chapter and Analytical Short Films show the Scottish “aspects of quality” of music education. Four key capacities of comprehensive education: successful learners, confident individuals, responsible citizens, and effective contributors to society, and three key competences for comprehensive musicianship: listening, performing and composing.

In this chapter, enacted possibilities for learning in a Scottish and a Swedish music lesson are analysed and compared with the intended learning outcomes as defined in the Swedish national curriculum. The Scotland-Lesson proves to place more emphasis on music's auditive aspects while the Sweden-Lesson focuses playing as individual manual skills.

Master of Music / Department of Music / Phillip D. Payne / The purpose of this study was to determine if music educators who have had experiences with informal music are more likely to employ informal learning within their classroom. Secondary research objectives included a comparison of survey results against specific demographics of the survey participants, an examination of the types of informal learning that the participants experienced and facilitated, and a look at the perceived barriers and benefits of informal music learning from the viewpoints of the participants. Participants (N=25) were practicing music educators pursuing graduate music studies. The participants were enrolled in a summer Master of Music program at a university in the Midwest. Data was collected by employing a pen and paper survey that provided a demographic description and informal music learning questionnaire. The participants were asked to indicate the frequency of participation in informal music activities prior to becoming a music educator. They further reported what informal music learning activities they facilitate within their school music curriculum. Finally, the participants responded to two short answer questions where they identified barriers and benefits they perceive with the implementation of informal music practices within their music programs. Results from a Pearson correlation showed a moderately strong relationship (p = 0.43) between participants who had informal music experiences (E) and who employed informal music learning within their music curriculum (C). There were no significant differences observed in the results between participants of different gender or school division. Of the short answer responses cataloged, participants cited a lack of experience with informal music and difficulty of connecting informal music learning to the formal music curriculum as the barriers to employing informal music learning in the classroom. The participants discussed the increase in student motivation, expanding musicality, and real-world relevance as the benefits of informal music learning. Knowledge gained from this study may be useful to individuals facilitating informal music learning within music education programs at the primary, secondary, or collegiate levels.

abstract: The North Park Middle School Band, in Pico Rivera, California, is an exemplary model of a band program grounded in the principles of social justice. Three facets guide the program: Social Outreach, Cultural Outreach, and Kids Helping Kids. This qualitative study explores what led the director to create this program, its current structure as well as its historical development, and the impact the program is having on the students involved and the community to which they reach. Between the months of September and December 2012, I spent a total of three weeks with the students, parents, and the director of the North Park Band, Ron Wakefield. In that time, the students were observed during band rehearsals on typical school days. Additionally, I traveled with the band to three separate outreach concerts at the Los Angeles Veterans Healthcare Facility, nursing homes and assisted living centers, as well as the Isaiah House, a homeless shelter for women and children. I observed the students and their interactions with the residents of those facilities, and took detailed observation notes. In addition, a survey was distributed to students in the top two bands, interviews were conducted with current students and a former student, a parent and a former parent, and the director. The North Park Band program structure leads students to develop an unusually high level of responsibility. Students gain an understanding of current issues in society and demonstrate compassion towards other human beings. In many cases, the students discover a sense of life purpose through the program and feel that they have a responsibility to help their community. While a central focus of the program is on humanistic values, it is evident that the students also receive a quality music education. / Dissertation/Thesis / D.M.A. Music 2013

The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.

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