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The purpose of this study was to examine elementary instrumental music teachers’ perceptions of the inclusion of composing and improvising in their instruction with beginning string students. A total of 46 Pennsylvania public-school string teachers participated in this study. Participants filled out a 21-question survey consisting of questions about demographics, their undergraduate experience with improvising and composing, their confidence in both teaching and personally engaging with improvising and composing, the perceived importance of learning both skills, the benefits and challenges of learning how to improvise and compose, and the resources needed to successfully implement further instruction on both skills. Participants were contacted via their school email address and were given a total of 4 weeks to complete the survey. Results from the survey indicate a majority of participants had few opportunities to improvise and compose as well as few opportunities to teach both skills in their undergraduate music programs. Most participants rated themselves slightly to moderately confident in their ability to teach improvising and composing and in their ability to improvise and compose. The most frequently mentioned hurdle to teaching improvising and composing was “time”. Substantive and meaningful curricular changes are needed at all levels of music instruction in order to equip young students and future music teachers with the skills necessary to thrive in the modern, musical world. / Music Education

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Every school music program has a history and a culture. This thesis was a study synthesizing those two elements, seeking to explore the past culture of a rural school music program primarily through interviews with former members of this culture. Throughout are examples of how music teachers, music students, administrators, and community members interacted over the course of approximately 30 years. From these interactions, the researcher drew insights about patterns of teacher behavior that could improve or hinder progress in a music program, including the quality of interpersonal relationships, the value of a teacher trying to integrate in a community (especially when it is a small rural community), and the importance of cooperating with other faculty members to share limited resources in a small school.

The purpose of the study was to examine the relationship between the professional activities of Col. Earl D. Irons and the overall development of bands in the Southwest. The need for the study was determined after researching the related literature, which revealed gaps in the historical record of instrumental music education, and in particular a dearth of biographical studies dealing with music educators in band field.

The purpose of this study is to trace the role of music and music education in Abilene, Texas, from 1881 to 1911. The research presents historical data relative to five categories: Educational music, cultural music, religious music, music of the vernacular, and music merchandising. The study utilizes personal interviews, newspaper files, city directories, local histories, photographs, city and county documents, school documents, minutes of public school board meetings, minutes of meetings of churches, school catalogues, articles in journals, unpublished works, and published books.

SammanfattningZavgorodni, Nikolai (2008). Titel: Rock- och popmusik i undervisningen. En studie om betydelsen av musicerande på gymnasiets estetiska program (Rock and pop music in music education. Investigating the importance of music creation in high school’s aesthetic program).Syfte med denna studie är att undersöka vilken betydelse musicerandet har i elevernas musikaliska utveckling. Studien omfattar musikundervisning i gymnasieskolan. Jag har använt mig av kvantitativ metod i min studie. Den kvantitativa metoden var i form av enkätundersökningen. Resultatet visar att musicerandet har en stor betydelse för musikstuderande och rock- och popmusik har en hög status i undervisningen. Majoriteten av alla studerande anser att det är viktigt att man ska satsa mer på musicerandet än på teori på lektionerna. Det framgick även av enkätstudien att det är mycket viktig med genrebredd i musikundervisningen. Många musikstuderande i studien anser att rock och popmusikgenrer har en stor betydelse i musikundervisningen. En viktig aspekt är att läraren ska engagera sig i elevernas musikaliska utveckling. Sökord: genre, ensemble, musikundervisning, musicerandet. / Abstract Title: Rock and popmusic in education. A study on the importance of rock and popmusic playing in music education. The aim of this study is to find out what music students think about playing in music lesson and their reflections on the importance of genre in music education. The study covers music education in high school. I have used both of quanititative and qualititative methods in my study. The quantitative method vas in the form of queststionnaires and qualitative method in the form of my observations above all in the form of definitions, conceptions and theoretical constructions. The result shows that play the instuments is very important for students and rock and popmusic have a high status in music education. The majority of students prefer more to play the instruments than their have theory in the lesson. The most of music students in high school believ that rock and popmusic is very important things in music education. One importans aspect is that teacher’s commitment to the students musical development. Keywords: genre, ensemble, music education, play the instruments.

Research indicates that music teachers generally did not nurture student self-efficacy beliefs for musical performance, suggesting three possible reasons. It might be that teachers lack knowledge about self-efficacy, do not have a valid or reliable method to evaluate or measure student self-efficacy, or possess insufficient strategies for developing self-efficacy beliefs (Zelenak, 2011a). In light of these findings, Zelenak (2011a) developed the Music Performance Self-Efficacy Scale (MPSES) (see Zelenak, 2011b) to provide teachers a way to measure the strengths and/or weaknesses of the four sources of self-efficacy information as reported by their students in relation to music performance. The theoretical framework for this study draws from Bandura’s (1986) construct of self-efficacy, a derivative of social cognitive theory, which is based upon the interactive relationship among behavior, cognitive factors, and environmental influences, with forethought as a crucial factor. The purposes of this study were to discover to what extent the teaching experiences, education, and self-efficacy beliefs of teachers influenced student self-efficacy beliefs, and to discover to what extent student self-efficacy beliefs changed between pretest and posttest with teacher intervention of using self-efficacy enhancing teaching methods in the classroom. Participants were currently enrolled music students in middle or high school (N = 242) and their respective music teachers (N = 5) in one school district in West Virginia. Results were compared according to the students’ grade level as well as to the teachers’ teaching experiences, educational backgrounds, teachers’ reported self-efficacy beliefs, and teacher intervention. Due to small teacher sample, the current findings cannot be generalized Analysis of raw score data provided some insight into whether the independent variables affected the students’ pretest and posttest MPSES scores. All student participants’ scores improved from the pretest to the posttest, with the greatest changes being found in the teachers’ years of experience, educational background, and teacher self-efficacy categories; however, the statistical analysis of the data was found not to be significant. Future studies, especially those including qualitative data from teachers’ classroom experiences, would provide a wealth of knowledge for continued research on how music teachers can help nurture their students’ music performance self-efficacy beliefs.