Music is both an art and a science involving emotional appreciation and intellectual understanding. When music performances are assessed, appropriate criteria should be used by examiners who appreciate the art and understand the science. This study examined the effects of training and experience on the judgements made by individuals who possessed an understanding of music performance (i.e. qualified musicians and music educators), from observations on videotape of three piano performances (by the same pianist). The thirty three participants were required to observe the videotape and complete a separate music performance assessment (MPA)sheet for each piece, and then rank the three pieces in order of preference. The MPA sheet contained (a) thirty three descriptive statements, under five headings, to which the examiner responded on a . six point Likert scale, and (b) a section for recording an overall impression mark, with provision for comment. There were four examiner categories: (1) untrained and inexperienced, (2) trained and inexperienced, (3) untrained and experienced, and (4) trained and experienced. The term 'experience' was applied to those participants who had previous involvement as examiners in any formal music performance assessment situation. The term 'trained' was applied to those participants who attended a short preparation course presented as part of the study. The responses of the four categories of examiner were tested for significant difference (.05 level) through the use of multivariate analysis of variance with repeated measures. One of the performances (piece 1) was recorded digitally by computer (using MIDI and the 'Vision' program) which provided a printout of what occurred during the performance. A comparison of the subjective analysis of the 'Vision' printout results with the examiner responses for piece 1, revealed that there was a link between the judgements made by examiners and the actual performance by the pianist. Results of the study indicate that (a) experience and training effects the criteria used by music examiners in the assessment of music performances, (b) training influenced the examiner responses more than experience, (c) in the 'best' performance, the effects of examiner training and experience were negligible, and (d) in the area of 'global' and 'specific' assessment of music performance, all examiners divorced the two approaches, however judgements of the untrained examiners were more obvious in their disparity. The results of this study suggest that the training a music examiner receives prior to the performance assessment session may be more important in producing consistent and accurate reports than the amount of previous examining experience. The criteria used by the music examiner should be clearly presented with appropriate dimensions for the musical instrument on which the student performs.

The purpose of this study was to examine the effectiveness of the Yamaha Junior Music Programme in developing pitch discrimination and rhythm performance skills in five- and six-year old children over a six month period. Specifically, it aimed to measure improvements in the ability to distinguish between high and low-pitched tones, the ability to identify the pitch of tones, the ability to imitate rhythms, and the ability to beat in time to music in four groups of ten subjects. Two groups (Y1 and Y2) had been involved in the Yamaha music programme, which aimed to improve the skills mentioned above. The other two groups (K1 and K2) had attended Kindergarten but had not been involved in any formal music programmes. Two of these groups (Y1 and K1) participated in pre-tests and post-tests. The other two groups (Y2 and K2) had participated in the post-tests only. The two groups which were taught via the Yamaha method consisted of ten students (male and female). The two other groups consisted of ten students in each group. These groups comprised students randomly selected from two Kindergarten classes at Fraser Primary school in the A.C.T. All students were presented with three tests: one pitch test, and two rhythm performance tests. Each test contained ten items. The three tests were trialled in a pilot study, with only minimum changes to procedure being required. The Yamaha groups were also given a pitch identification test at the conclusion of the six-month period. Each student's performance in the ten trials of the three tests was recorded on audio tape. Three judges used these recorded responses to grade each student's performance. The trials were also recorded digitally on an Apple II Computer using a sequencing software package. Detailed statistical analysis was carried out on both subjective and digital scores. The experimental design used in this research was the "Solomon's Four" design, which was ideal in controlling for internal sources of invalidity. A series of comparisons were drawn between the various groups involved, and it was concluded that the six-month Yamaha aural training programme led to the following outcomes: * improvements in the ability of Yamaha students to determine pitch height. * a higher incidence of improvement for the experimental group in the pitch pairs test (to determine pitch height) than for the control group. * improvements in the ability of Yamaha students to identify the pitch of notes. * no statistically significant improvements for Yamaha students at the end of six months for rhythm test A (rhythm imitation). * no statistically significant improvements in the performance of Yamaha students at the end of six months for rhythm test B (beating in time to music). * no statistically significant improvements in the performance of the Kindergarten groups at the end of six months for rhythm test A. * no statistically significant improvements in the performance of the Kindergarten groups at the end of six months for rhythm test B. A number of explanations were offered for the absence of improvement in the two rhythm tests and recommendations were made for future research.

<p>Syftet med mitt arbete är att undersöka elevers inställning till sitt lärande under ensemblespelet i musikundervisningen relaterat till deras erfarenheter av fritidsmusicerande. Skiljer sig synen på ensemblespelet beroende på arten av elevens fritidsmusicerande? Får alla elever en chans att utvecklas i sitt musicerande? Spelar valet av låtar in i elevernas syn på momentet? Jag har i första hand använt mig av en kvalitativ studie, där jag intervjuat elever om deras uppfattningar av ämnet. De resultat jag fick fram visar på att de elever jag intervjuat som på fritiden musicerar i grupp inte ges samma förutsättningar att utvecklas under skolans ensemblespel, som de elever som endast musicerar på egen hand eller de elever som inte alls musicerar. Angående låtrepertoaren så anser eleverna att låtarna fungerar, men de elever som på fritiden spelar i grupper efterlyser större genrebredd och svårare material. I diskussionen har jag analyserat resultatet utifrån vad tidigare forskning visat, och även diskuterat utifrån mina egna erfarenheter och min kommande roll som lärare. Jag diskuterar även om den stora skillnaden i hur olika elever får möjlighet att utvecklas under ensemblespelet ligger i om de är vana vid en formell- eller informell lärandesituation, eller om de har vana av att spela i grupp eller enskilt.</p>

No description available.

<p>Fem kvalitativa intervjuer gjordes med syfte att undersöka huruvida olika typer av</p><p>metoder att tänka används då en person transponerar en notbild, och i så fall hur dessa</p><p>metoder kunde beskrivas. Intervjupersonerna spelar brassinstrument på hög</p><p>amatörnivå och i några fall professionell nivå. Utifrån resultatet kunde fyra</p><p>huvudsakliga metoder urskiljas: 1. Notflyttning – då man tänker sig en annan skriven</p><p>not och kan läsa av den. 2. Funktionsmall – då man utifrån notbilden skapar en</p><p>funktionell mall som appliceras på valfri tonart. 3. Greppbyte – då man oberoende av</p><p>tonart räknar ut vilka grepp som gäller. 4. Nyinlärning – samma process som när man</p><p>lär sig noter första gången. Diskussionskapitlet tar upp hur dessa förhåller sig till</p><p>varandra och föreslår ytterligare tänkbara metoder.</p>

<p>SAMMANFATTNING</p><p>Författare: Sandra Nordal</p><p>Titel: Kulturhistoria – ett tvärvetenskapligt ämne med många ingångar.</p><p>En studie om olika lärares uppfattning om kursen Kultur- och idéhistoria.</p><p>Title in English: Cultural history – an interdisciplinary subject with many approaches.</p><p>An essay on teachers´ opinions about the course ”Kultur- och idéhistoria”.</p><p>C-uppsats i musikpedagogik, Musikhögskolan vid Örebro universitet, 2006.</p><p>Syftet med denna uppsats är att undersöka och skapa förståelse för hur lärare med olika utbildning, som undervisar i kursen Kultur- och idéhistoria, uppfattar kursen, hur de tolkar kursplanen för densamma och hur de tror att detta speglar sig i praktiken.</p><p>Med hjälp av en mindre enkätundersökning fick jag inledningsvis fram intressanta fakta om 23 lärares utbildning och syn på kursen Kultur- och idéhistoria. Detta har legat till grund för en del av mitt resultat, samtidigt som enkätsvaren har utgjort urvalsunderlag för tre intervjuer. Genom intervjuerna har jag fått mer djupgående förståelse för hur dessa tre tänker omkring ämnet.</p><p>Av enkätundersökningen framgick att en lärarexamen med historia, i kombination med ytterligare ett eller två huvudämnen, är den klart vanligaste utbildningen bland de 23 lärare som besvarat enkäten. En vanlig kombination är historia och svenska. Det varierar i ganska hög grad huruvida lärarna har läst till fristående kurser med anknytning till ämnet kultur¬historia. De intervjuade lärarna anser att deras intressen och kunskaper präglar undervisningen i hög grad. Även enkätsvaren tyder på detta. Efter ett långt yrkesliv anser de dock att de har förvärvat många betydelsefulla kunskaper på annat håll än i den formella utbildningen.</p>

No description available.

Thesis (Ph. D.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

The purpose of the study is to examine music’s place and function in the pedagogical activities at two music preschools. I address the following questions. • Which factors have influenced the development of a music profile at these preschools? • How do the preschool teachers relate to music in their profession? • What is thought important in the preschools’ musical activities? • How do singing and other musical activities stimulate multilingual children’s language and social participation? The study is an ethnographic study interpreted in a hermeneutic tradition, informed by a socio-cultural theory. Fieldwork was conducted over a period of two years. The principal methods used are interviews with preschool teachers and observations of preschool children and teachers in action. The study’s findings highlight that preschool principals have great impact on the didactic choices made: they have supported all the preschool teachers in developing the musical competence to teach music in a preschool setting. This has been crucial for the development of these music preschools. The study also shows that various musical activities widen the children’s aspiration and confidence about participation. Communication with sound and motion is a form of expression that is open to all, even in times when children’s spoken language is not sufficient. At these preschools music therefore has a function of stimulating the Swedish language development. Music also creates a sense of community at these preschools. Musical activities give the children examples of how to act in various situations. Musical activities also transcend boundaries. Listening to different types of music is part of the preschools’ own culture. Finally, music has an aesthetic function that provides musical experiences. However, this function is not particularly obvious in the preschool teachers’ discussion of the didactics of the musical activities. It is more important to express the fact that the music-making itself is key. Such an argumentation will manifest the place of music at these preschools, and perhaps will also support the development of the music practice as such. The study shows that it takes time for many preschool teachers to be confident in teaching music, and since the national curriculum says that music should be a part of the preschool agenda, it is important that music should become a standard subject in the preschool teacher education programme.

Syftet med mitt arbete är att undersöka elevers inställning till sitt lärande under ensemblespelet i musikundervisningen relaterat till deras erfarenheter av fritidsmusicerande. Skiljer sig synen på ensemblespelet beroende på arten av elevens fritidsmusicerande? Får alla elever en chans att utvecklas i sitt musicerande? Spelar valet av låtar in i elevernas syn på momentet? Jag har i första hand använt mig av en kvalitativ studie, där jag intervjuat elever om deras uppfattningar av ämnet. De resultat jag fick fram visar på att de elever jag intervjuat som på fritiden musicerar i grupp inte ges samma förutsättningar att utvecklas under skolans ensemblespel, som de elever som endast musicerar på egen hand eller de elever som inte alls musicerar. Angående låtrepertoaren så anser eleverna att låtarna fungerar, men de elever som på fritiden spelar i grupper efterlyser större genrebredd och svårare material. I diskussionen har jag analyserat resultatet utifrån vad tidigare forskning visat, och även diskuterat utifrån mina egna erfarenheter och min kommande roll som lärare. Jag diskuterar även om den stora skillnaden i hur olika elever får möjlighet att utvecklas under ensemblespelet ligger i om de är vana vid en formell- eller informell lärandesituation, eller om de har vana av att spela i grupp eller enskilt.