The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.

This thesis explores the professional knowledge of three choral music educators from St. John’s, Newfoundland and Labrador. My primary research purpose was to explain what constitutes the professional knowledge of each of the research participants as revealed through their life stories; to illustrate how such professional knowledge has been shaped by experiences throughout each of the participants’ lives; and to understand how the participants’ experiences of developing as educators within the specific social, cultural, and political contexts of Newfoundland and Labrador have shaped their professional knowledge. Through this inquiry, three choral music educators engaged in a process of teacher development, as they discovered for themselves, through a narrative process of self-exploration, the meaning that could be made of the relationships between their life experiences and their knowledge of music teaching and learning. Data-gathering included a series of four in-depth interviews, which consisted of open-ended questions that engaged the participants in reconstructing their life experiences and articulating their professional knowledge within the context of developing as choral music educators. Choral rehearsal observations provided another source of data. These observations enhanced my understanding of the participants’ teaching practice, and assisted in my understanding of the relationships between the personal and the professional that they expressed in initial interviews. Analysis of the data is represented through narratives of the participants’ life stories and a thematic discussion of their professional knowledge as revealed through those stories. Each participant’s narrative and professional knowledge are presented in individual chapters, followed by a chapter that explores the resonances (Conle, 1996) amongst the participants’ narratives and my own personal-professional narrative. I propose that we begin to reconceptualize professional development in order to acknowledge the complexity and personal nature of professional knowledge, and I assert that the exploration of life stories is a meaningful form of professional development for music educators.

This research is intended for studying the management of Music Teaching Institutions of ¡§Yamaha Music education System¡¨ and ¡§Ju Percussion Music education System¡¨ were focused for study. In the process of research, the author collected related literatures and data to study the backgrounds of music teaching institutions. Then interview were made with institution operator and teachers to find out the problems involved to the operation of music teaching institution. Finally, a questionnaire survey was conducted among parents of students to analyze and compare the view and thinking of parents with regards to different teaching system. The findings are analyzed and reduced into conclusion as well as drawn into suggestions for the reference of music teaching institution in building their programs and guidelines, as well as the possible directions of their operation modes. Went through literature and data research, interview and questionnaire survey, the following conclusions were obtained: 1. Dimensioning the teaching belief of music teaching institution is an important direction of the operation of the organization. 2. Music teaching institution shall have completed and systematic organization. 3. Music teaching institution must have systematic development program. 4. The professional capacity and personality of teacher have great effects on the results of learning of children. 5. ¡§Providing children with fundamental music ability or understanding¡¨ is the prime factor for parents to enroll into music teaching system. 6. Music learning requires regular practices and patience. 7. Attending music concert can agitate the interest of students, and it is recommended that children are encouraged to participate. 8. The roles played by parents are the key to success. 9. Music teaching institution can play the role of culture promotion media. 10. It would be recommendable to establish Appraisal scales and revision mechanisms of music teaching institution. It is expected that our results of research will do certain good in the effect of music learning of children, enrich and develop potential of children in music. Offer children with a happy music learning experience will allow them to gain much more happiness and achievement.

Gerald Anthony Petersen Jr., Ph.D.The University of Arizona, 2005Director: Brian D. Ebie The purpose of this study was to provide specific data regarding the level of multiculturalism of Arizona elementary general music teachers and their utilization of multicultural music education in curriculum and activities. Data gathered was used to investigate the relationship between a teacher's life experience, personal attitudes, personal behavior, and professional behavior with their developing and employing multicultural music education. Subjects included Arizona elementary general music teachers (N=280) during the 2004-05 school year. The Personal Multicultural Assessment and the Music Specialist's Multicultural Music Education Survey were sent to the teachers along with a demographic report sheet. Data analysis included descriptive statistics, correlational analysis (Pearson-Product Moment Correlation), analysis of variance (ANOVA), and a multiple regression. The results of the survey indicated that Arizona elementary general music teachers are functioning at varying levels of multiculturalism. The teachers' Personal Multicultural Assessment mean scores ranked at the third level of the Multicultural Personae in the areas of Personal Behavior, Professional Behavior, and on the Composite score. The areas of Life Experience and Personal Attitude ranked at the second level of the Multicultural Personae. Statistically significant relationships were found between the population of the teachers' hometown and the Life Experience subscale score and the Composite score. The undergraduate institution from which the teacher graduated was positively related to the Personal Behavior subscale score and the Composite score. Though the majority of Arizona elementary general music teachers felt inadequately prepared for teaching multicultural music education or have ethnic instruments, they reported utilizing the majority of regional-specific world music. Life experience was a significant factor in determining music teachers' utilization of multicultural music education. This study demonstrated that Arizona elementary general music teachers' personal attitudes, personal behavior, and professional behavior regarding multiculturalism may not have effected their utilization of multicultural music education.

No description available.

This thesis examines how nine teachers in four New Zealand secondary schools are using digital technology in music education in order to gain a greater understanding of how it is used, why it is used and what constraints may exist that hinder implementation. This thesis contends that although there was evidence of considerable use of digital technology in the schools, particularly in composition activities, a range of factors are influencing the choices teachers are making as to how they are using it. Despite the potential digital technology may have to transform classroom activities in music education, usage, in most cases, remains fundamentally conservative and heavily informed by traditional Western art music practices. A multi-site case study approach guided this investigation. Initial descriptive numerical data were gathered from teacher and student questionnaires. Further data came from the semi-structured interviews with teachers and small groups of students in each of the four cases. Findings from the data showed that although the teachers participating in the study had a range of digital technology available to them and they made use of it on a regular basis, a range of factors influenced the choices they made when using it in their classrooms. Amongst this range of factors influencing the choices they made, the most important appeared to be the requirements of an external examination system that is remains informed by Western art music practices and in particular on the cognitive dimensions of analysis, harmony, music history, traditional aural skills and an understanding of music notation and theory. Even though there are specific references to a range of styles and genres in the mandated national curriculum, Western art music practices remain most important to most of the teachers. Findings from the student data showed that the students participating in this study appeared to have a high level of digital literacy and were able to use digital technology in both formal and informal learning situations. A number of the students also discussed and demonstrated their informal music learning skills in performance and composition activities. For these students, contemporary music practices are very important to them and if they do not receive the information they need at school they know how to access it using a range of digital devices in an informal learning environment. This thesis contends that to be a successful music educator in the 21st century, the ability to work with Western art music practices and contemporary music practices is becoming an increasingly important skill.

This thesis explores the professional knowledge of three choral music educators from St. John’s, Newfoundland and Labrador. My primary research purpose was to explain what constitutes the professional knowledge of each of the research participants as revealed through their life stories; to illustrate how such professional knowledge has been shaped by experiences throughout each of the participants’ lives; and to understand how the participants’ experiences of developing as educators within the specific social, cultural, and political contexts of Newfoundland and Labrador have shaped their professional knowledge. Through this inquiry, three choral music educators engaged in a process of teacher development, as they discovered for themselves, through a narrative process of self-exploration, the meaning that could be made of the relationships between their life experiences and their knowledge of music teaching and learning. Data-gathering included a series of four in-depth interviews, which consisted of open-ended questions that engaged the participants in reconstructing their life experiences and articulating their professional knowledge within the context of developing as choral music educators. Choral rehearsal observations provided another source of data. These observations enhanced my understanding of the participants’ teaching practice, and assisted in my understanding of the relationships between the personal and the professional that they expressed in initial interviews. Analysis of the data is represented through narratives of the participants’ life stories and a thematic discussion of their professional knowledge as revealed through those stories. Each participant’s narrative and professional knowledge are presented in individual chapters, followed by a chapter that explores the resonances (Conle, 1996) amongst the participants’ narratives and my own personal-professional narrative. I propose that we begin to reconceptualize professional development in order to acknowledge the complexity and personal nature of professional knowledge, and I assert that the exploration of life stories is a meaningful form of professional development for music educators.

This dissertation has the main purpose of analysing the biggest single musical educational project in Sweden, so far, Radiokonservatoriet (the Radio Conservatory) from an educational perspective. The project was planned and carried out in 1965–68. This was a time of change in Swedish society. The economy was stronger than ever which had made it possible to let education expand explosively. At the same time, the subject of music in schools was in trouble since the previous and obvious religious legitimacy had faded with secularisation. A lack of music teachers and a lack of relevant higher education in music were well known problems. The expectations were high on an educational project that was going to use media and new methods. Musicology was supposed to build the core of music teaching. In spite of the tough education with three new programmes every week, 132 students managed to conclude all the three courses and were awarded a diploma. In the analysis, I have used concepts from the theory of distance education. With great distance between teacher and pupil, the former has to create strong ”structure” and explicit declarations of how the material is formed in the sense of selection and progression. On the other hand, great distance creates a free space where the pupil can choose autonomously: where, when, and what to study. The Radio Conservatory was well aware of the pedagogic imperatives of the time: ”activity” and ”integration”. The included exercises show different activities of registering, analytic and creative kinds. Singing and playing instruments were not included as ”activities”. The integration of the project consisted of the fact that the three courses were given simultaneously. This gave advantages, but made the education extensive and disregarded the intention of blending different school subjects, which was the established pedagogic intention. The essentialistic striving to create a music subject built on musicology was fruitless. In the 1970s the interest in material theories and teaching content was marginalised in favour of formal theories. My proposal is that both these sides of interest, the material and the formal side of music education, should be balanced.

The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A. Adviser: Gary E. McPherson. Includes bibliographical references (leaves 283-301) Available on microfilm from Pro Quest Information and Learning.