<p>Tanken med den här uppsatsen var att undersöka om musik kan användas som ett didaktiskt verktyg i skolans verksamhet i fler ämnen än bara musikämnet och om det här bidrar till en positiv påverkan i läroprocessen.</p><p>För att komma fram till det här bestämde vi oss för att genomföra kvalitativa intervjuer, där vi intervjuade två stycken pedagoger och en musikterapeut. Frågorna vi ställde till de intervjuade handlade om musikens betydelse för dem och vad de anser händer med människan vid musikalisk aktivitet samt hur man på bästa sätt integrerar musik i undervisningen. I vår undersökning jämförde vi sedan de tre intervjupersonernas svar och kopplade samman svaren med litteraturstudier kring ämnet musik i läroprocessen.</p><p>I vårt resultat framkom det att musik är ett viktigt redskap för lärande och att musik bidrar till att befästa kunskaper men det framhävdes även att musik kan vara ett orosmoment för vissa elever och att det därmed också missgynnar inlärning. Det kan dock generellt sägas att enligt vår undersökning är musik ett glädjefyllt moment i sig.</p><p>Är man bara medveten om syftet av användandet av musik i övriga ämnen så kan det påverka läroprocessen på ett positivt sätt.</p>

<p>Studien visar vad några lärarna och rektorerna på tre utvalda skolor har för inställning till musik i skolan och vilka möjligheter de ser med musik. De teoretiska utgångspunkterna beskriver författares olika syn på vad musikalitet är, vilken roll läraren har i musiken, vad som påverkar musik i skolan och vilken inverkan musiken har på hjärnan. Intervjuer har genomförts med en rektor, en musiklärare och en klasslärare på tre utvalda skolor. Resultatet visar att alla de intervjuade är positivt inställda till musik och ser den som en viktig del i skolan men endast en skola använder musiken som en självklar integrerad del i skolans verksamhet. De intervjuade ser tid, resurser och kunskap som viktiga faktorer som påverkar hur skolorna kan arbeta med musik som en integrerad del i verksamheten.</p>

<p> This study examined the ways in which mid-career ensemble directors and administrators (some with musical and some without musical background) described the effect of implementing standardized teacher evaluations on their practices and perspectives. Participants described the application and critique of the evaluation tools, particularly the Danielson Framework for Teaching, on their process and pedagogy. There is little information on how in-service teachers&mdash;specifically ensemble directors&mdash;locate themselves in their practice and how they articulate their process and pedagogy. There is also little literature on mid-career teachers, both in identity formation and self-reflection. Mid-career ensemble educators who have an established professional identity may find imbalance in light of the new policies, and have to negotiate and manage the contemporary evaluation systems predominantly designed for English and Math. Further, if supervisors do not understand what learning and assessment processes look like in a middle or high school band, orchestra, or chorus setting, they might try to evaluate with criteria that apply to a social studies or chemistry class. Without critically reflecting on how these evaluations affect pedagogy and process, educators may fall into routines of trying to reach a particular benchmark, instead of imagining ways to engage with their students.</p><p> A phenomenological interview approach was used to solicit the participants&rsquo; voices and to allow their narratives to describe their lived experiences with teacher evaluation in ensembles. The participants&rsquo; personal and shared narratives help to better explain and navigate the changing waves of educational policy. Data collection involved interviews and document review of the contemporary evaluation systems, in particular, the Danielson Framework for Teaching. Data analysis uncovered themes of conflicting identities in the classroom, misaligned interpretations of student-centered learning, as well as discourses based on location and the privileges associated with place. Teachers negotiated their performer/conductor and educator selves; administrators negotiated their leader and educator selves.</p><p> This study found that the Danielson evaluative tool, when poorly implemented in an ensemble setting, is faulted and lacks content validity. Additionally, while ensembles function rather traditionally in public schools, embracing a more open rehearsal pedagogy with conductor as facilitator may help to assure more student-centered learning.</p>

<p> The modern trumpet performer will be called upon to perform many different styles during their career. One of the ways a classical trumpet student can learn to play different styles is through performing in as many ensembles as their school offers and playing solos written in the vein of third stream music. One of these solos is Alfred Reed's Ode for Trumpet. This work allows the performer to experiment with jazz sounds and style without the worry of improvisation. To successfully perform this work one must have a proper sound concept, style, and the ability to tastefully embellish the melody. </p><p> The methodologies that will be used in this project report are performance practice, theoretical and analytical, and narratology. The performance practice methodology will be used to describe how to perform a work in the third stream of music. The theoretical and analytical methodology will be used to show why certain embellishments work harmonically and why the piece is considered third stream music. Finally, the short biographies of Alfred Reed and Don Jacoby will fall under the narratology methodology. </p><p> The purpose of this project report is to investigate how to properly and successfully perform trumpet works in the third stream genre and how they relate to the needs of the everyday professional trumpet player. It will cover sound concepts, style, and embellishments that will help guide a performer to their own voice in this music. The ability to change tonal colors, swing, and use extended techniques will be required of the player in various musical settings from playing in pops orchestras to Broadway style musicals to playing in a big band. These topics are important for every trumpet player, specifically classical trumpeters, to learn because they will be required to be knowledgeable and have mastered these skills to have success as a professional trumpeter. </p>

<p> With this qualitative self-study, I investigated my practice as a general music teacher with my Limited English Proficient (LEP) students. The purpose of this study was to investigate my teaching practice and develop creative strategies to foster the engagement and motivation among the students in my sixth grade bilingual classroom. The framework of this study was modeled from the five foci of self-study research (Samaras, 2011). The main research question was: &ldquo;What creative strategies could help me engage my sixth grade bilingual students?&rdquo; Specifically, this study addressed how strategies related to language, lesson planning, and technology impacted the engagement of the students. The investigation included four teaching/observing sessions and the interviews of two administrators within the school district. Data revealed that my creative strategies engaged the students, as the content became accessible to them. The data also revealed that the linguistic misunderstandings throughout the sessions resulted in frustration between the students and myself.</p>

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

In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts.

<p>The purpose of this study was to investigate the effect of singing tempo during specific song acquisition of preschool aged children. The study had two research questions: 1. What is the effect of slow and fast singing tempos on preschool children&rsquo;s performance of musical components (melody, rhythm, and text, individually and combined) of a duple major song over time? 2. Will children&rsquo;s performance tempo be the same as or similar to the presented instructional tempo? </p><p> Participants were randomly assigned by classroom to Tempo Group A (120 beats per minute) or Tempo Group B (60 bpm). A three week pilot study (<i> N</i> = 14) validated the teaching procedures, recording procedures, and the scoring rubric. During the six week main study, participants (<i> N</i> = 50) were exposed to the song 30 times. Three judges evaluated individual performance recordings from the pilot study and the individual midpoint and final performances from the main study in three dimensions: melody, rhythm, and text. </p><p> Interjudge reliabilities were calculated using a Pearson product moment reliability. Data analysis used a two-way Multiple Analysis of Variance (MANOVA) with repeated measures for the individual components and an Analysis of Variance (ANOVA) with repeated measures for the composite score. The melodic scores, the rhythmic scores, the text scores, and the composite scores showed statistically significant growth for both groups from the week three recordings to the week six recordings. There was no statistically significant difference between the instructional tempo groups. </p><p> The mean of complete performances for both tempo treatment groups moved toward the center of the tempo range (60&ndash;120 bpm) Using a <i>t </i>-test, the change in performance tempo from instructional tempo was statistically significant. Further research is needed for specialized groups (English as a Second Language, developmental delays, and different tonalities/meters). </p>

<p> Dr. Charles Hirt and the Department of Church and Choral Music at the University of Southern California (USC) produced some of America's most successful choral conductors and administrators. Many of those students are conducting or administrating at the finest colleges and universities, secondary schools, churches, and community choral organizations in the nation. From the earliest moments of his career, Charles Hirt himself received a seemingly endless string of accolades. Always focused on the betterment and future of the choral arts, he was a "founding father" of significant choral organizations such as the American Choral Directors Association (ACDA), Choral Conductors Guild of California, and the International Federation of Choral Music. It was also his visionary mindset that served as a hallmark of his tenure at USC and arguably earned him the right to stand as an equal alongside the greatest of American choral conductors. </p><p> It is the aim of this study to examine Hirt's significant contributions to the University of Southern California and his legacy as it continues on in his students and the subsequent generation of choral leaders they generated. </p>

This qualitative research study investigates teaching and learning in an international school, and asks: (1) What are the stories of principle, practice, and mindset that foster internationally-minded teaching and learning in an international school context?; and (2) How might those stories inform the practices of teachers in increasingly culturally diverse domestic schools? A trifold conceptual framework of principle, practice, and mindset (Guo & Jamal, 2007) was used to design the process for data collection: (1) document analysis to examine principles such as intercultural competency; (2) classroom observations to identify elements of internationally-minded teaching practices; and (3) interviews to address the mindset of educators and administrators. The data collected from 25 documents, 60 hours of classroom observations, and 8 interviews were subsequently analyzed using van Manen’s (1997) three steps for hermeneutic phenomenological reflection, and were guided by Fowler’s (2006) approach to understanding narrative. Four resulting themes have been established: (1) personalized learning; (2) creative professionalism; (3) (con)temporary community; and (4) international-mindedness. These themes indicate a complex interconnectedness between stories of principle, practice, and mindset in an international school context, and highlight the significant role that teachers as intercontextual inquirers play in enhancing internationally-minded approaches to teaching and learning. / Thesis (Ph.D, Education) -- Queen's University, 2014-02-03 13:09:11.145