Positive adaptations experienced in spite of challenges faced is known as resilience. Comparatively little research has focused on in-depth descriptions regarding how resilience is manifested in children. The purpose of this study was to add to previous research in the identification of characteristics of resilience in students, and to determine the extent to which band membership has aided their resilience in other domains. Data was collected from a random sample of band seniors from the class of 2011 (n = 3) who attended a large high school in the South. Specific research questions were: (1) What characteristics of resilience are present in the talk of participants in a high school instrumental music program? (2) To what extent has this population perceived that membership in band aided their resilience in other domains? A descriptive study design was chosen that used qualitative data. Following data analysis that included category matrices, prominent themes emerged from the participants’ responses. These included self-improvement, forward thinking, optimism, inner drive, increased achievement, determination, development of relationships to peers and adult mentors, and development of connectedness to the school. The findings of this study complemented previous research on characteristics of resilient students, and suggested that the participants derived positive benefits from group membership and from positively contributing to the school. Recommendations based on these findings for researchers included the need for resilience to be studied across other subject areas in school, and across different populations of students. Recommendations for teachers and administrators included varied opportunities for extra-curricular and co-curricular student engagement.

Thesis (M.M.)--Bowling Green State University, 2010. / Document formatted into pages; contains 1 score (33 p.) For flute, oboe, clarinet in B♭, bassoon, horn in F, piano and strings. Duration: 11 min. Includes bibliographical references.

Thesis (D. Mus. Arts)-- University of Washington, 2005. / Vita. Includes bibliographical references (leaves 77-79).

The problem of this study is to evaluate the public school music program in the following seven independent schools of Denton County: Denton, Pilot Point, Sanger, Krum, Ponder, Northwest, and Lewisville. The evaluation includes the high school, the junior high school, and the elementary school. The purpose of the investigation is to determine the number and content of the music courses and musical activities being offered in these schools, the number of total students participating in these courses, and to show to what extent the schools appear to meet criteria set up by the State Department of Education in Bulletin Number 492, The Teaching of Music in Texas Public Schools, and other authorities in the field of public school music, during 1949-1950.

Made available in DSpace on 2017-07-21T20:32:02Z (GMT). No. of bitstreams: 1 Melissa Pedroso Pereira.pdf: 1191333 bytes, checksum: f57f1e84db6ca1d91b917f99cffe1730 (MD5) Previous issue date: 2013-07-12 / This paper presents a construction process analysis of the curricular proposals of the Degree in Music Universidade Estadual de Ponta Grossa/Paraná (UEPG – State University of Ponta Grossa/Paraná) in 2002 and 2008. The aim of the research was to contextualize historically the 2002 and 2008 curricula implementation process, its fundamentals and concepts; to identify the Music undergraduates‟ academic education from the perspective of the selected Curricula; to question, from the graduates‟ perspective, the articulation of the 2002 course with the graduates' demands on professional practice, establishing a comparison with the 2008 curricular proposal to analyze how the 2008 curriculum responds or does not respond to the limitations presented by the graduates and to what extent the program reform has contributed to meet the demands on teachers' practice after graduation. Historical and dialectical materialism was used as theoretical methodological framework, especially the categories of totality, contradiction and mediation from Marx‟s ideas and Frigotto‟s interpretation (2004), Cury (1987), Cheptulin (2004), and praxis according to Vázquez (1977). For discussion of the role of art in society, ideas from Vázquez (1977), Canclini (1984), Fischer (1987) and Peixoto (2003) were used. Regarding curricular issues, reflections are contained in Sacristán (2000); Silva (2008) and Silva (2011); to understand the different conceptions of teachers‟ education process for the Degree in Arts/Music Course, Bellochio (2003), Cereser (2004), Fonterrada (2008), Fucci Amato (2006), Fuks (1991), Queiroz; Marinho (2005); Souza (1997); Subtil (2008, 2009a, 2009b, 2011, 2012); Penna (1995, 2004, 2008, 2008b) and Pires (2003) productions were used. Research data were obtained through documentary analysis of the processes that led to the creation and implementation of UEPG‟s courses, as well as the programs prescribed by the two pedagogical projects of the course. Also, 2002 Degree in Music graduates filled out a questionnaire, aiming to understand their perception about their education process and practical performance. The research showed that idiosyncrasies from the previous education process and during the Degree in Music course led sampled individuals to polarized positions regarding the effectiveness and adequacy for the 2002 program, but allowed to realize the advances and setbacks left in the 2008 program in order to maximize the undergraduates‟ formation concerning their adequacy for the legal apparatus that rules their educational process and also in relation to the demands and requirements of their professional performance in Elementary Education. / Este trabalho apresenta uma análise do processo de construção das propostas curriculares da Licenciatura em Música da Universidade Estadual de Ponta Grossa/Paraná em 2002 e 2008. O objetivo da pesquisa foi contextualizar historicamente, o processo de implantação dos currículos de 2002 e 2008, seus fundamentos e concepções, identificar a formação acadêmica dos licenciandos do Curso na perspectiva dos Currículos selecionados e problematizar, sob a ótica do egresso, a articulação do Currículo do Curso de 2002 com as demandas da prática profissional dos licenciados, estabelecendo um contraponto com a proposta curricular de 2008 para analisar de que maneira o currículo de 2008 responde ou não às limitações apresentadas pelos egressos e em que medida a reformulação curricular contribuiu para atender às demandas da prática dos professores depois de formados. Utilizou-se como referencial teórico metodológico o materialismo histórico e dialético, principalmente as categorias da totalidade, contradição e mediação, a partir das idéias de Marx e a interpretação de Frigotto (2004) Cury (1987), Cheptulin (2004); e a práxis, conforme Vázquez (1977). Para a discussão da função da arte na sociedade foram utilizadas as ideias de Vázquez (1977), Canclini (1984), Fischer (1987) e Peixoto (2003). No que tange as questões curriculares, as reflexões estão contidas em Sacristán (2000); Silva (2008) e Silva (2011). Para a compreensão das diferentes concepções de formação de professores na Licenciatura em Artes/Música, foram utilizadas as produções de Bellochio (2003), Cereser (2004), Fonterrada (2008), Fucci Amato (2006), Fuks (1991), Queiróz; Marinho (2005); Souza (1997); Subtil (2008, 2009a, 2009b, 2011, 2012); Penna (1995, 2004, 2008, 2008b,) e Pires (2003). Os dados da pesquisa foram obtidos através da análise documental dos processos que geraram a criação e implantação dos Cursos da UEPG, bem como os currículos prescritos pelos dois Projetos Pedagógicos de Curso. Também foi aplicado um questionário para egressos do Curso de Licenciatura em Música do Currículo 2002, visando compreender a percepção dos mesmos sobre seu processo de formação e atuação prática. A pesquisa apontou que as idiossincrasias da formação anterior e durante a Licenciatura em Música levaram os indivíduos da amostra a posições polarizadas quanto à eficácia e adequação do Currículo de 2002, mas permitiram perceber os avanços, e retrocessos postos no Currículo de 2008 no sentido de potencializar a formação dos acadêmicos de Licenciatura em Música na UEPG em relação à sua adequação ao aparato legal que rege sua formação e também em relação às demandas e exigências de sua atuação profissional no Ensino Básico.

Adolescent mothers are unique; they are both teenagers and parents. Some are students. Many have difficulty with these multiple roles. Secondary schools that support adolescent mothers by providing parenting classes and daycare present an ideal environment to introduce and investigate parent-child music programs. In the present study, the experiences of adolescent mothers and their children in a modified music program based on Kindermusik (2010) curriculum are explored. This research is part of a growing movement to work with youth from a perspective of their interests, assets and resilience. The guiding research question is: What are the experiences of adolescent mothers and their infants in a culturally responsive parent-child music program? I worked with a local parent-child music instructor to implement a program in a Saskatoon school, and received support from a Cree Elder and a Métis singer-songwriter to develop a cultural component of the program. Thirteen young women and their infants participated in the study; one adolescent mother was Aboriginal and five infants had paternal Aboriginal heritage. Other participant ethnicities mirrored the diversity in Saskatoon where much of the population is of multi-ethnic origin from British, German, French, and Ukrainian ancestry (Thraves, 2006). A case study of the eight-week music program was used, emphasizing experiential knowledge, continuous compilation of data, extended researcher observation, and the development of relationship and participant empowerment (Stake, 2010). Primary sources of data included participant-observations and focus group interviews. Secondary sources comprised individual interviews with the parent-child music instructor, an Elder, and school staff; short check-in interviews with most of the adolescent mothers; and video footage and photographs taken during the parent-child music program. The Listening Guide (Gilligan, Spencer, Weinberg, & Bertsch, 2003)—a feminist analysis consistent with the epistemology—was used to interpret the focus group interviews. Thematic analysis (Braun & Clarke, 2006) was utilized to elucidate the other sources of data. The qualitative findings provide an in-depth understanding of the experiences of adolescent mothers and their infants in a parent-child music program using practical interactions that model and reinforce parenting skills through welcoming, informal, positive and culturally responsive activities. Key findings are strengthened mother-infant connections, enhanced maternal wellbeing, and the development of children’s social skills. Limitations and recommendations for further research are discussed.

Internet and digital media have profoundly reorganised the radio landscape by giving birth to new formats and patterns of radio listening. Today, traditional radio actors systematically use online platforms to diffuse their programs and communicate with their audience. This master thesis offers a case study and examines how Radio FIP, a French music station of public service, uses its digital devices to diffuse its program and produce content online. On the basis of existing researches on radio and radio diffusion online, and with the help of the concepts of format, media logics and hybrid media system, the author of this paper defines two logics of traditional radio and radio online used as reference in order to analysis the influence of media logics on the station’s material and formats online.   Observation of Radio FIP’s website and social media pages on Facebook and Twitter showed  a clear influence of radio online logics in the visual and informative extra content, the additional audio offers through online webradio streams, the promotion of non linear and asynchronous formats of radio listening’s and the incorporation of networked media frames. At the same time, logics of traditional radio prove to be also very significant with the pre-eminence and promotion of the station’s on air broadcast on digital devices and the reproduction of traditional radio patterns of temporality, music prescription and vertical communication on social media platforms. The coexistence of the two logics in Radio FIP online platforms characterises the station’s digital apparatus as a hybrid media space, and opens up new research trails for better understanding what influence the content formats of radio stations diffusing online.

School orchestra programs are overwhelmingly concentrated in suburban districts, which are becoming increasingly racially and economically diverse. Diversifying suburbs lie at the crossroads of race, racism, and whiteness and findings drawn from these settings can have implications for racial dynamics in all educational contexts. The purpose of this instrumental case study was to explore how racially underrepresented students perceive race within an urban characteristic high school orchestra program through the lens of critical race theory. I developed a composite counter-story to examine the racialized experience of school orchestra told from the perspective of students of color with a particular interest on competition. Participants were six students and two teachers affiliated with the same high school orchestra program in Texas. Emergent thematic findings examined students' sense of racial belonging, mechanisms upholding the racial status quo, and fulfilling aspects of students' orchestra participation. Though the lens of critical race theory, I discuss how everyday whiteness, property of whiteness, and meritocracy function to maintain white hegemony in school orchestra.