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Professional autonomy of music teachers in ChinaWang, Miao, 王苗 January 2010 (has links)
published_or_final_version / Education / Doctoral / Doctor of Philosophy
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A PLAN FOR UTILIZING INDEPENDENT STUDY AND SELF-DIRECTED LEARNING TO ENRICH CHORAL ACTIVITIES IN THE HIGH SCHOOLRobinson, Jean Ann Ziebell, 1930- January 1968 (has links)
No description available.
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The historical background and functional use of rhythmical bodily activity in music educationKing, James Zebulon, 1923- January 1948 (has links)
No description available.
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A historical survey of music appreciation in the public schools of the United StatesHenley, Glenice, 1912- January 1950 (has links)
No description available.
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Certain aspects of the psychology of a work-play conversion in the teaching of music to juvenilesLieberman, HIlda Kahan, 1907- January 1948 (has links)
No description available.
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An evaluation of music in one teacher rural schools in ArizonaBaker, Genevieve Georgia, 1929- January 1952 (has links)
No description available.
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The performance of advanced choral literature by the high school chorusFunk, William Russell, 1924- January 1953 (has links)
No description available.
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A study of the trends of philosophic thought in the history of music education in the United StatesKamp, May Zua Hazzard, 1900- January 1947 (has links)
No description available.
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Can you think a little louder?: a classroom-based ethnography of eight and nine year olds composing with music and languageFreed Carlin, Joi Lynn 05 1900 (has links)
The purpose of this qualitative study was to investigate the processes in which eight and
nine year old children engaged as they composed generative expressions with music and
language. This study was a classroom-based ethnography conducted by a teacher/researcher
in the context of her own general music classroom and the home room of the participant
students. Twenty-one boys and girls in a suburban grade three class were involved in this four
and one-half month study; three children were chosen as target (focus) composers.
This study was designed so that the primary voice and point of view was that of the
student-composers rather than that of the adult teacher/researcher. To that end, methodologies
for data collection and interpretation were flexible and emergent, to allow for inclusion of
unexpected events, interactions, foci/directions, etc. and to ensure that student-composers'
self-described decisions about their work were at the forefront of the discussion and
interpretation of the data.
A framework was devised to inform and clarify the teacher/researcher's understanding of
what the children were doing as they composed. This framework provided a flexible
structure for organization and illustration of data used for interpretive purposes.
Data collected included:
1) journals, written self evaluations and in-process verbal critiques by all students
2) video-tapes of focus composers in:
a) working sessions
b) reflective discussion with the teacher/researcher
3) video-tapes of all students in:
a) in-process sharing/critiquing sessions
b) final performances of compositions
4) field notes of the teacher/researcher, including observations, informal conversations
with student-composers, and observations and comments of the home room teacher.
Findings from this study included these insights:
1) For these child-composers, process and product were intertwined throughout the
making of their compositions;
2) These child-composers began with a holistic idea of what they wanted to do and
proceeded to explore, revise and polish their compositions in the particular medium
until they reached their self-determined goal;
3) Socio-cultural factors of informal (enculturated or acquired) learning, and general
maturity, were primary influences in decision-making in compositions with both
music and language;
4) Training made a difference in the baseline starting point in composing ability,
attitude, speed of the compositional process, and expectations for the final product;
5) These eight and nine year old children, untrained in music, demonstrated that they
could compose rather than just improvise;
6) These child-composers went through the same four processes of exploration, making
choices, editing/drafting, and completing a coherent product, when composing in two
different modalities; they engaged in these processes recursively as well as
sequentially in both media.
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A study of preservice music education students : their struggle to establish a professional identityPrescesky, Ruth. January 1997 (has links)
The purpose of this research was to gain an understanding of how music education students come to think of themselves as music educators. Guided by the thematic framework, "learning from experience", which draws upon research relating to constructivist theory and biographical inquiry, as well as literature pertaining to construction of images of self, this study explored four music education students' perceptions of themselves as musicians and as educators. Believing that self-perceptions are rooted in personal biographies, autobiographical and journal writings were investigated to establish links between participants' perceptions and biographies. Issues encountered by participants as they began to think of themselves as music educators were uncovered. / Participants' perceptions of their "selves" were rooted in childhood memories and models of practice. They interpreted, internalized and practised the tacit expectations of their models of practice. Subsequently, participants' images of self-as-musicians and self-as-educators were connected by a common thread, that of image of self. Participants who viewed self-as-performer encountered conflict between their identities as musician and as educator. Other participants constructed images of self-as-participants. As such, they experienced a sense of unity and resonance between their identities as musicians and as educators. / Issues directly related to their self-perceptions surfaced as participants began to think of themselves as music educators. The study considered the implication of these issues for teaching practice, and the relationship between these issues and preservice teacher training. This study concludes with a discussion of research implications and directions for reforming music teacher education.
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