‘The young Irish person has the worst of all European musical “worlds”’. This seminal statement was discovered to be symptomatic of a general malaise. The Music Education National Debate (MEND 1994-1996) was a three-phase response to Deaf Ears?, the report from which the above statement was taken. The eventual aim was to set up a forum for music education which would systematically address the difficulties in Ireland. The scope of MEND was, thus, general, ab initio. Its progress was, however, inhibited by a specific concern, which was fundamental to the whole process of reform. It soon became apparent that consensus on a philosophy of music education to inform evolving strategies would be a sine qua non. Coincidentally, this was a time of debacle in the global field, instanced by the publication of a ‘new’ philosophy of music education (David Elliott’s Music Matters [1995]) which threw down the gauntlet to the undisputed classic - Reimer’s A Philosophy of Music Education [1970/1989]. This challenge amounted to a veritable counterposition and demanded a separate, albeit derivative, study before the MEND Report could be completed. This study was to become the substance of this thesis. The aim of this work is to analyse these polar philosophies with a view to reconciling them. Beginning with some commonly held values about music education, the relevance of American music education practice to a wide range of global systems is suggested. The dominance of a western art (music) mentality is called into question by giving prominence to multiculturalism and popular music. Music Education as Aesthetic Education (Reimer) is compared with the praxial approach (Elliott). They yielded to rationalization, albeit posing residual questions of balance, relevance, and time constraints within the curriculum. The indispensability of performance and listening as a complementary pair is re-established. The ascendancy of artistic criteria in defining the music programme is affirmed. Finally the failure of the universal philosophy hypothesis is redeemed by sketching the compromises necessary to convert it to the adaptability of the contextual idea, leading the study to a conclusion of general, rather than specific, application. Note from the UPeTD Team: The final MEND (The Music Education National Debate) report can be obtained from the Academic Information Service, University of Pretoria, email: upetd@up.ac.za. The report is available as an Adobe Acrobat .pdf document. There are hyperlinks embedded within the document to facilitate internal navigation. The Appendix at the end (which is an index of the MEND debates and presentations) also contains hyperlinks. / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted

This qualitative research study explored how verbal processing occurred in music therapy work with adolescent boys living in a shelter in Pretoria. The study examined both how the adolescent boys and the therapist engaged in verbal processing. Three audio excerpts derived from the music therapy sessions were analysed through a process of content analysis. The data was coded, categorised and organised into themes. Results indicated that verbal processing was interrelated between the therapist and the adolescent boys, both making use of various techniques of verbal processing. This proved to be invaluable with the verbal processing facilitating the therapeutic process as the boys were afforded with a safe space where any ideas, feelings, thoughts, hopes and dreams could be expressed and shared with each other, and the therapist was able to gain greater insight into the boys’ more intimate world. I am unaware of any published literature of music therapy with adolescent boys living in a shelter, as music therapy is in its early stages in South Africa, especially with this specific client group. The majority of music therapy literature however, not surprisingly, focuses on musical exchanges during sessions. I would therefore like to explore how verbal processing was used in the music therapy process, after music listening and during song writing, with adolescent boys living in a shelter. This is in order to facilitate a greater understanding and openness towards the possibilities of including clinically informed verbal processing as part of music therapy work with this population group. / Dissertation (MMus)--University of Pretoria, 2010. / gm2014 / Music / Unrestricted

No description available.

This study examined a music therapy technique designed according to a resource-oriented approach and involved the use of music listening with adults, called "Intentional Music Listening". This protocol consisted of four music listening techniques. An exploratory sequential design was used, with a quantitative data phase followed by a qualitative data phase. The quantitative phase employed a modified crossover design, with an experimental group and waitlist control group. Participants attended groups at which they were coached in the music listening techniques for at-home practice. Quantitative data was gathered using the Positive and Negative Affect Scale (PANAS) (Watson, Clark & Tellegen, 1988), and through completion of diary cards after each at-home listening protocol. The qualitative data phase consisted of semi-structured interviews following participation in the music listening protocol. Both the statistical data and the qualitative data give support for the Intentional Music Listening protocol as having a positive impact on the participants' perceived state of well-being, and as a viable set of techniques for use in wellness-based music therapy practice. / Music Therapy

No description available.

Syftet med detta arbete är att ta reda på hur icke-professionella och professionella inom musik hör när de lyssnar på musik. Finns det någon skillnad i var fokus ligger i musiklyssnande och går det att urskilja några tendenser? För att undersöka detta har ett urval av personer fått lyssna till olika musikexempel och sedan beskrivit den ljudbild de har uppfattat i musiken. Sedan har dessa narrativ analyserats med utgångspunkt i ett av Gabrielsson (2008) utarbetat klassificeringssystem i form av ett stort antal teman och kategorier, vars syfte är att belysa olika starka musikupplevelser. De varierande fokus som har framkommit hos informanterna i min studie har sorterats in under detta schemas olika teman och kategorier och sedan sammanställts i tabellform för att ge en lättare överblick. Trots att det mig veterligen inte finns en likadan studie om var fokus i musiklyssnande hos icke-professionella och professionella riktas inom musik, så styrkte det som framkom i resultatet befintlig forskning kring relationen mellan upplevelser och reaktioner inom musiklyssning. Det visade sig att i både min och Rays (2000) studie var det samma kategorier som det riktades mest fokus mot. Även diskussionen som fortgår inom musikpsykologi och social musikpsykologi, att hörandet/lyssnadet på musik är socialt och kulturellt betingat, tycktes bli stärkt av resultatet. Denna studie presenterar inga generaliserbara och enkla svar om hur vi hör och lyssnar utan visar snarare upp och förstärker att musiklyssnadet är en komplex process med många aspekter och variabler att ta hänsyn till. / The purpose of this study is to find out how professionals and non-professionals listen to music. Are there any differences in focus or is it possible to discern any characteristic tendencies? In order to find out, a selected group of people have listen to various types of music and then asked to write down what they heard in the music, their “soundscape”. Afterwards these narratives have been analyzed in a classification system - prepared by Gabrielsson (2008), in form of numerous themes and categories, who’s aim is to elucidate different musical experiences. The varying result that has arrived in my study has been sorted in, under this schedule's different themes and categories and then been put together in tabular, in order to give an easier overview. Even though, to my knowledge, it doesn’t exist a former study like this between the listening habits among professionals and non-professionals, it emphasize more common research about the relations between experiences and reactions in listening to music, as it shows that focus is directed towards rather similar categories. The discussion that is taking place within music psychology and social music psychology, that hearing/listening to music is socially and culturally habituated seems to be strengthened in this study.   This study won’t present and generalize any easy answers about how we hear and listen to music but rather emphasize that listening to music is a complex process with many different aspects and variables to consider.

Denna studie har till syfte att undersöka privata musiklyssningsvanor och hur dessa förhåller sig till det egna musicerandet hos gymnasielever som tar instrumentallektioner på kommunala musik-/kulturskolan, samt hur dessa vanor påverkas av instrumentalundervisningen. Det teoretiska perspektivet är hämtat från sociologen Thomas Ziehe och handlar om hur ungdomar bygger upp sina identiteter i dagens samhälle. Som en bakgrund till undersökningen presenteras dels tidigare forskning om ungdomars musiklyssning, dels forskning om kommunala musik-/kulturskolan. Studien består av fem kvalitativa forskningsintervjuer med gymnasieelever i en svensk småstad. Resultatet visar att ungdomarna ägnar en stor del av sin fritid åt att lyssna på musik och att den främsta musikkällan idag är Spotify. De lyssnar på ett medvetet sätt på bland annat musikens uppbyggnad och musikernas skicklighet. Om och i vilken utsträckning ungdomarna privat lyssnar på samma typ av musik som de spelar på sina lektioner och om de påverkats i sitt privata lyssnande av undervisningen beror på en mängd olika faktorer och därför presenteras de fem ungdomarnas historier delvis var för sig. Resultatet visar också att det finns många olika skäl till att spela på musik-/kulturskolan, och att dessa olika skäl påverkar hur viktigt förhållandet mellan den spelade repertoaren och det privata lyssnandet blir för eleven. Slutligen presenteras och diskuteras två olika pedagogiska perspektiv på hur musiklärare kan förhålla sig till elevernas musiklyssning och förhållande till den på lektionerna spelade repertoaren. / This study aims to investigate private music listening habits and how they relate to the personal music-making among high school students who take instrumental lessons at community schools of music and culture, and how these habits are affected by instrumental teaching. The theoretical perspective comes from the sociologist Thomas Ziehe and is about how young people build up their identities in contemporary society. As a background to the study, previous research on young people's music listening and research on community schools of music and culture is presented. The study consists of five qualitative research interviews with high school students in a Swedish town. The results show that young people spend much of their free time listening to music, and that the main source of music today is Spotify. They listen in a conscious way, for example at the musical structure and the musicians' skills. Whether and to what extent young people privately listen to the same type of music that they play in their lessons and whether the teaching has influenced them in their private listening depends on a variety of factors. Therefore, the stories of the five young people are partially presented separately. The results also show that there are different reasons to study at a community school of music and culture, and that these reasons affect how important the relationship between the repertoire and the private listening habits is for each student. Finally, two different pedagogical perspectives on how teachers can relate to students' music listening habits, and their relationship to the repertoire being played at the lessons, are presented and discussed.

Muzikos pamoka bei girdima muzika pamokose nuobodi bei neįdomi nemažai daliai VII-VIII klasių mokinių. Tuo tarpu muzikos klausymas, kaip parodė tyrimo rezultatai, yra labiausiai mėgstama muzikinė veikla paauglių tarpe. Todėl šį aspektą, skatinant didesnę paauglių motyvaciją muzikos pamokoje bei ugdant teigiamas nuostatas į pamokoje girdimą muziką, tikslinga panagrinėti kuo plačiau. Šio tyrimo objektas – VII-VIII klasių mokinių klausoma muzika. Darbo tikslas – atskleisti VII-VIII klasių mokinių klausomos muzikos pasirinkimo ypatumus. Keliami šie tyrimo uždaviniai: 1) Atlikti mokslinės literatūros analizę apie paauglių amžiaus tarpsnio ypatumus, psichologinės bei muzikinės tapatybės kūrimąsi ir įvairias muzikos funkcijas žmogaus gyvenime. 2) Anketine apklausa išsiaiškinti veiksnius, turinčius įtakos paauglių klausomos muzikos pasirinkimui. 3) Atskleisti kontekstinius VII-VIII klasių mokinių muzikos klausymosi ypatumus. 4) Išsiaiškinti VII-VIII klasių mokinių požiūrį į muzikos pamokoje skambančią muziką. 5) Išsiaiškinti tiriamų ugdytinių muzikos mokytojų nuostatas muzikos klausymo aspektu bei muzikos parinkimo priežastis pamokoje. 6) Atskleisti radijo stočių, populiarių mokinių tarpe, muzikos parinkimo aplinkybes. Atliekamo tyrimo metodai: Mokslinės literatūros sisteminė apžvalga. VII-VIII klasių mokinių anketinė apklausa, jų mokytojų apklausa, radijo darbuotojų interviu. Matematinės statistikos metodai: procentinė gautų duomenų analizė, chi kvadrato kriterijaus taikymas... [toliau žr. visą tekstą] / Seventh and eighth grade pupils report that music lessons and the music heard during these lessons is boring. On the other hand, according to the results of this research, listening to music is the favorite music activity among teenagers. Therefore, it is important to analyze this topic more comprehensively as it investigates the motivation of teenagers in music listening situations. The object of this research is the music preferences of schoolchildren in grades VII and VIII. The purpose of the work is to reveal various aspects related to the music these pupils listen to. The following tasks of the research are raised: 1) To analyze scholarly literature about the peculiarities of early adolescent development, including psychological and musical identity formation and various functions of music in a person’s life; 2) To ascertain the factors influencing adolescent music choices via a questionnaire survey; 3) To reveal the contextual aspects of music listening by schoolchildren of grades VII-VIII;. 4) To determine the attitude by schoolchildren of forms VII-VIII towards the music which is played during music lessons; 5) To discover the attitudes of the music teachers of the researched pupils towards various aspect of music listening and to determine the reasons for the music choices for a lesson; 6) To reveal the reasons behind musical choices by music stations, which are popular among teenagers. Methods of research: A review of literature, a questionnaire survey of... [to full text]

This study investigated how and to what extent music listening was initiated by elementary general music teachers. The specific problems of the study were (1) identification of activities and materials related to music listening and (2) the determination of how and to what extent assigned and assumed music listening was initiated in the selected classrooms. Systematic observation was chosen to investigate these problems. An observation instrument, the Elementary Music Listening Schedule (EMLS), was developed by which eighteen elementary general music teachers were observed during ten lessons.

The work is concentrated on musical functions in children´s and youth´s life in their leisure time and especially musical listening activities. It describes different attitudes to meaning and character of music in history. It concerns in advantage of listening activities in the area of personal children´s and youth´s development. The work notices possible risks which are connected with aversion of parents and teachers to do this leisure-time activity. The last part deals with possibilities of cultivation of listening experiences which are connected with children and youth in their leisure time.