This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children. / A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study. / Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study. / An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children. / Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972). / A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner. / AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.

A music and movement program that incorporated vocal, gestural and rhythmical movement activities was devised with the aim of promoting first-time mothers’ interactions with their infants from the age 2 to 6 months. For first-time mothers as primary caregivers, the early post-partum months of the transition to parenthood can be a stressful period, affecting communicative interactions with their infants and the early development of the dyadic relationship. Furthermore, if mothers are lacking a repertoire of activities that promote communicative interactions via the use of vocal, gestural and rhythmical movement activities the development of the mother-infant relationship may be inhibited.Considering factors that affect the early development of the mother in her role as primary caregiver and the developing relationship with her infant, the investigation of two studies are reported. Study 1 was aimed at investigating the effects music and movement and face-to-face social contact on the frequency of mothers’ interactions with their infants and maternal well-being. Face-to-face social contact was investigated as a factor (both independent of music and movement, and its interaction effect with music and movement) that could influence mothers’ communicative interactions with their infants and maternal well-being. Study 2 investigated behavioural outcomes within the mother-infant relationship in response to the communicative effects of music and movement as measured by change in the characteristics of mothers’ Infant-Directed Speech and dyadic reciprocity Results indicated that up-tempo play songs and rhymes which incorporated rhythmical movement were preferred by the mothers to engage with their infants. As an effect of the their use of the music and movement activities, mothers’ interactions with their infants increased together with their perceived mother-to-infant attachment, characteristics associated with their Infant-Directed Speech and the dyadic reciprocity. Without music and movement, mothers decreased their music and movement interactions with their infants together with their perceived mother-to infant attachment, characteristics associated with their Infant-Directed Speech and the dyadic reciprocity. It was concluded that mothers’ use of the music and movement program with their infants in the early post-partum months was a valuable stimulus that can enhance the mother-infant relationship. / Doctor of Philosophy (PhD)

Thesis (M.Mus.Ther.)--New Zealand School of Music, 2009. / Includes bibliographical references.

Thesis (Ph.D.)--Edith Cowan University, 2006. / Submitted to the Faculty of Education and Arts. Includes bibliographical references.

Thesis (Ph.D.) -- University of Western Sydney, 2007. / "A thesis submitted to the University of Western Sydney, College of Arts, MARCS Auditory Laboratories in fulfilment of the requirements for the degree of Doctor of Philosophy." Includes bibliography.

The topic of the master thesis is music therapy and its effect on preschool children. The master thesis consists of four chapters, whereby the first three being the theoretical part and the fourth the practical part. The theoretical part pays attention to music therapy from a historical point of view but it also examines the current theoretical and practical concept. The theoretical part offers basic information about pre-school education, including a description of teachers, children and an institution called a kindergarten. In that respect, there is also a brief mention of the Štíty kindergarten, from which the research sample comes. Furthermore, the theoretical part also focuses on art therapies in general. It is mainly focused on the music therapy. However, a brief description of three other art therapeutic disciplines, such as art therapy, drama therapy and dance-movement therapy, is also included. The main aim of the theoretical part was to offer comprehensive overview of knowledge and the facts in order to help the understanding of important facts about music therapy and preschool education. With the focus on the interconnection of these two key areas. Finally, a brief introduction of art therapies and its other specializations is included. All the included information is based on the study...

This dissertation examines issues of social class and musical parenting within the context of an early childhood jazz education program. Using administrative and survey data from 469 self-selected families from six cities in the U.S. where this program is offered, I aimed to identify what factors play a role in parental decisions for enrolling in the program and whether those factors were associated with their social class. Considering this early childhood jazz program as an organized activity supports the analysis of music classes as a form of investment in cultural capital fostered by parents. I used current economic models of the family and theories of social and cultural class reproduction to understand families’ participation in the program and their musical engagement. Principal component analysis revealed four components representing possible reasons that drove parents to enroll in the program: Cultural and Educational Enrichment for the Future; Appreciation of Jazz; Socialization and Bonding; and Social Networks. Simple linear regression analysis showed significant associations between socioeconomic status (SES) and two principal components (Cultural and Educational Enrichment for the Future and Social Networks). Overall, parents showed high scores of both general and musical engagement, and those variables were highly correlated. Additionally, there were no statistically significant associations between parents’ previous formal musical experiences and their musical engagement when controlling for musical materials at home and their average value of music education. Parents’ engagement with the program activities was positively associated with their music making at home and that association stayed stable and strong after taking into account sociodemographic factors, parents’ values of music education and access to musical materials. Families from lower SES backgrounds used activities and materials from the jazz class at home with more frequency than families from other SES groups. This finding could suggest that when lower SES families are given access, they incorporate new musical tools and ideas from the jazz program as affordances to increase their parenting skills; therefore, the impact of the program might be stronger for those parents than for the other more advantaged groups. Jazz music in this context seems to be working as an equalizer of opportunities by reducing inequalities.

Made available in DSpace on 2016-08-03T16:34:52Z (GMT). No. of bitstreams: 1 Christianne Kamimura.pdf: 932183 bytes, checksum: b7d70a49ede3722a4d83a56ae6d349e8 (MD5) Previous issue date: 2011-09-20 / This study investigates the stress level of foster children victims of domestic violence, before and after ludic-musical interventions in group, through an exploratory descriptive research of quali-quantitative character. Initially, the institution population of 100 foster children is characterized by: their socio-demographic profile, type of violence and the reason for being fostered. After that, the Child Stress Scale, CSS, is applied with 20 individuals, conveniently selected. An intervention is then performed with eight of those 20 participants, also conveniently selected, in eight weekly sessions, based on techniques of music therapy, including relaxation and recreational activities, with Winnicottian approach. Finally, the CSS post-test is performed with the 20 participants. Data from the socio-demographic profile of the 100 children presented 65% percent female and 35% male; average age of 6,66; violence was suffered by: negligence (52%), phy cal violence (19%), financial difficulty (15%), abandonment (12%); sexual abuse (2%). In the CSS pre-test, stress was found in 80% of cases, predominantly in girls, and the post-test showed no significant difference (p = 0.944). The analysis of the intervention proved to be positive, however, showing good acceptance by participants, who expressed their feelings and emotions in a cozy setting which promoted creativity and spontaneity through sonorous games, open to new experiences and socialization, characterized as a measure to promote health of the foster children, and reducing their stress. / Este estudo investiga o nível de estresse de crianças acolhidas vítimas de violência doméstica, antes e após intervenções lúdico-musicais em grupo, através de pesquisa exploratória descritiva de caráter quali-quantitativo. Caracteriza inicialmente a população da instituição, de 100 acolhidos, seu perfil sócio-demográfico, tipo de violência e motivo do acolhimento. Aplica a seguir, a Escala de Stress Infantil, ESI em 20 sujeitos, selecionados por conveniência. Realiza em seguida, intervenção com oito desses 20 participantes, também selecionados por conveniência, em oito sessões semanais, baseadas em técnicas de musicoterapia, que incluem relaxamento e atividades lúdicas, com abordagem winnicottiana. Ao final, realiza pós-teste da ESI nos 20 participantes. Os dados do perfil sócio-demográfico dos 100 acolhidos revelam 65% por cento do sexo feminino e 35% do masculino; faixa etária média de 6,66; violências sofridas por: negligência (52%); violência física (19%); dificuldade financeira (15%); abandono (12%); abuso sexual (2%). No pré-teste da ESI, foi constatado estresse em 80% dos casos, com predomínio nas meninas, sendo que o pós-teste não mostrou diferença significativa (p=0,944). A análise da intervenção mostrou-se positiva, revelando boa aceitação dos participantes, que expressaram seus sentimentos e emoções num setting acolhedor que promoveu a criatividade e a espontaneidade por meio de jogos sonoros, com abertura para novas experiências e socialização, caracterizando-se como medida de promoção da saúde da criança acolhida, com redução de seu estresse.

Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.