No description available.

No description available.

The topic of assessment has attracted wide-spread attention in the discipline of music education in recent decades. However, most research centres on school-based assessment, and then mainly on the assessment of practical music subjects. Current assessment practices in music literacy programmes (such as 'paper-and-pencil' and standardized tests) counteract what is arguably the most important goal of music education, namely the development of musicianship. Therefore, in this study, my aim is to investigate assessment practices in music literacy courses for young adults, and to show how assessment in these courses can contribute to the development of musicianship. In order to reach these aims, the terms 'musicianship' and 'music literacy' are defined. The importance of a guiding philosophy for assessment is highlighted and constructivism is discussed as an example of such a philosophy, since constructivist principles largely correspond with the principles of assessment and adult education. Principles for effective assessment are subsequently established before being applied to the assessment of music literacy outcomes. Finally, the need for further research about various topics that can inform assessment practices in music subjects is pointed out. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

The topic of assessment has attracted wide-spread attention in the discipline of music education in recent decades. However, most research centres on school-based assessment, and then mainly on the assessment of practical music subjects. Current assessment practices in music literacy programmes (such as 'paper-and-pencil' and standardized tests) counteract what is arguably the most important goal of music education, namely the development of musicianship. Therefore, in this study, my aim is to investigate assessment practices in music literacy courses for young adults, and to show how assessment in these courses can contribute to the development of musicianship. In order to reach these aims, the terms 'musicianship' and 'music literacy' are defined. The importance of a guiding philosophy for assessment is highlighted and constructivism is discussed as an example of such a philosophy, since constructivist principles largely correspond with the principles of assessment and adult education. Principles for effective assessment are subsequently established before being applied to the assessment of music literacy outcomes. Finally, the need for further research about various topics that can inform assessment practices in music subjects is pointed out. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

nÃo hà / A presente pesquisa traz uma reflexÃo acerca das potencialidades envolvidas no relacionamento entre o professor de mÃsica atuante no contra-turno e oito pedagogas que lecionam nas sÃries iniciais do ensino fundamental em uma escola pÃblica no municÃpio de Caucaia, buscando responder com a anÃlise de uma proposta didÃtica musical ao questionamento: "Como professor de mÃsica e pedagogas podem, de forma integrada, propiciar educaÃÃo musical para seus alunos da educaÃÃo bÃsica?". Pretende-se trilhar esse caminho atravÃs de um estudo de caso, investigando o impacto de uma proposta de educaÃÃo musical embasada no desenvolvimento das dimensÃes da musicalidade em que professor de mÃsica interage simultaneamente com pedagogas e seus alunos no contexto de aulas de mÃsica em uma escola de educaÃÃo bÃsica de Caucaia atravÃs da descriÃÃo das etapas de elaboraÃÃo e de aplicaÃÃo das aulas ministradas durante a pesquisa, coletando dados atravÃs do relato de experiÃncia do professor de mÃsica e de entrevistas narrativas junto Ãs pedagogas envolvidas na pesquisa e analisando o conteÃdo destes relatos atravÃs de conceitos da praxiologia e da filosofia de educaÃÃo musical, de modo que se possa potencializar a utilizaÃÃo da mÃsica na escola de ensino fundamental, estendendo os limites do campo da educaÃÃo bÃsica integrando o subcampo da educaÃÃo musical atravÃs do desenvolvimento das dimensÃes da musicalidade de cada participante de forma que o projeto de educaÃÃo musical esteja integrado à comunidade escolar. A interaÃÃo entre as pedagogas e o professor de mÃsica constitui um dos primeiros pressupostos do estudo. Esta pesquisa corrobora na participaÃÃo do professor de mÃsica nas escolas do municÃpio de Caucaia de modo que sua atuaÃÃo nÃo fique isolada do projeto pedagÃgico das escolas. Assim, o professor de mÃsica pode contribuir com a educaÃÃo musical relacionando-a com a comunidade escolar de forma diversificada e abrangente, assim como as pedagogas podem se beneficiar de uma aprendizagem musical que fundamente sua prÃtica em sala de aula. / The present research brings a reflection about the potentialities involved in the relationship between the music teacher acting in extra classes on a second shift and eight pedagogy graduates who teach the initial grades of elementary school in a public institution in the municipality of Caucaia, seeking to respond the questioning âhow can a music teacher and pedagogy graduates, in an integrated way, provide musical education for their students of primary education?â through the analysis of a didactic proposal. It is intended to follow this path through a case study, investigating the impact of a proposal of music education based on the development of the dimensions of musicality in which the music teacher interacts simultaneously with the pedagogy graduates and their students, in the context of music classes in a primary education school in Caucaia, through the description of the process of planning and application of classes taught during the research, collecting data through a report made by the music teacher and narrative interviews with the teachers involved in the research and analyzing the concepts of the praxeology and philosophy of musical education, so that the use of music can be expanded in elementary school, broadening the limits of the field of primary education by integrating the subfield of musical education through the development of the participantâs dimensions of musicianship so that the musical education project is integrated to the school community. The interaction between the pedagogy graduates and the music teacher is one of the first assumptions of the study. This research corroborates the participation of the music teacher in the schools of the municipality of Caucaia so that their performance is not isolated from the pedagogical project of the schools. Thus, the music teacher can contribute to music education by relating it to the school community in a diversified and comprehensive way, just as the pedagogy graduates can benefit from a musical learning that reinforces their practice in the classroom

Abstract This thesis homes in on Anna-Liisa Antila-Kaljunen (1915–2006), a member of the first generation of the newly established Republic of Finland, exploring her life and work as artist and teacher educator. In addition to archival material, the thesis also utilizes personal recollections of Antila-Kaljunen. The principal aim of the thesis was to investigate how a female secondary school graduate of the 1930’s built a distinguished professional career in three fields: music, education and music education. Her term as the first publicly-elected organist of the Evangelical-Lutheran church made her a pioneer, whose status and professional competence were widely admired in contemporary press reports. Another aim involved comparing the education Antila-Kaljunen received to the development of musical education in Finland. Yet another strand of research examined the interaction between teacherhood and artistic identity. Serving as the methodological backbone of this thesis, life course analysis allowed tracking all changes within Antila-Kaljunen’s lifespan, including transitions, opportunities and restrictions, societal changes, human relationships or educational and work-related choices and activities. For a performing musician, competence and self-efficacy were deemed as central building blocks of agency, while narrative analysis comprised the main tool for studying recollections. In recollections of Antila-Kaljunen, three factors stand out: her significance, exemplarity and influence as teacher. Specific emphasis can be placed on mentoring, which appears to have formed a meaningful undercurrent for a number of her teacher-student relationships, particularly for students with a musical orientation. A key contribution of this thesis involves appreciating and acknowledging a teacher’s work in a wider perspective than just one lifetime. Moreover, the thesis points out how the Second World War shaped the lives and careers of the wartime generation and the choices they made. The road to performing artist was long and winding, but Antila-Kaljunen, who was talented and musically-inclined, eventually got to fulfil her educational and professional ambitions independently and without restrictions. Her achievements as a musician and teacher hinged on an ethos of versatility, manifested through goodness and beauty. / Tiivistelmä Väitöskirjassa tarkastellaan itsenäisen Suomen ensimmäiseen sukupolveen kuuluneen Anna-Liisa Antila-Kaljusen (1915–2006) elämää ja toimintaa taiteilijana ja opettajankouluttajana. Arkistoaineiston lisäksi tutkimuksessa on käytetty hänestä kerättyä muistelukerrontaa. Tutkimuksen tehtävänä oli selvittää miten 1930-luvun naisylioppilas rakensi ammattitaidoltaan korkealle noteeratut urat säveltaiteen, koulutuksen ja musiikkikasvatuksen maailmassa. Jakso Suomen evankelis-luterilaisen kirkon ensimmäisenä virkaan vaalilla valittuna urkurinaisena tekee hänestä uranuurtajan, jonka asemaa ja ammattitaitoa ihailtiin ajan lehdistössä. Toisena tehtävänä oli peilata Antila-Kaljusen saamaa koulutusta musiikkikasvatuksen kehitykseen Suomessa. Tutkimus etsii vastauksia myös opettajuuden ja taiteilijuuden vuorovaikutukseen. Metodologisena kehyksenä tutkimuksessa toimii elämänkulkuanalyysi, jonka avulla elämänkaaren aikana toteutuneet siirtymät, mahdollisuudet ja rajoitukset, yhteiskunnan muutokset, ihmissuhteet ja vaihtuvat koulutukselliset ja työhön liittyvät kuviot todennetaan. Esiintyvän muusikon kohdalla kompetenssi ja minäpystyvyys ilmentävät toimijuuden keskeisiä rakennusosia. Muistojen tutkimuksessa käytettiin apuna narratiivien analyysia. Opettajan merkitys, esikuvallisuus ja vaikutus tulevat näkyviin hänestä kerrotuissa muistoissa. Erityisenä löytönä voi pitää mentoriutta, joka näyttää olleen usean opettaja–oppilas-suhteen virityksenä varsinkin jos opiskelija oli musiikkiorientoitunut. Tämän työn antina voidaan pitää opettajan työn arvostuksen ja merkityksen havaitsemista laajemmin kuin vain yhden elämän perspektiivissä. Se tuo myös ilmi miten sota suuntasi sen kokeneen sukupolven elämänkaarta ja valintoja. Työ osoittaa, että taiteilijaksi oli pitkä tie. Lahjakas ja musiikillisesti orientoitunut Antila-Kaljunen sai toteuttaa koulutukselliset ja ammatilliset ambitiot kotimaassaan itsenäisesti rajoituksista riippumatta. Muusikkona ja opettajana toimiminen vaati monipuolisuuden eetosta, joka hänen kohdallaan toteutui hyvyyden ja kauneuden kautta.

It is a feature of present-day schooling, in South Africa and abroad, that music teachers are expected to organise and direct vocal ensemble activities, for example, yet adequate preparation provided in higher education courses for this role that the school music teacher has to fulfil, seems lacking. The purpose of this study is to compile a knowledge base that will enable the planning and development of a choral conducting curriculum, for use in South African tertiary institutions. The curriculum should be aimed at aspirant teachers in primary and secondary schools and community leaders who are culturally aware and who have a responsibility and interest in the choral field. Choral conducting as a recognised subject of an undergraduate study package is a relatively new academic field in South Africa. The envisaged curriculum needs to enhance the proficiency of choral conducting students within an educational context. The thesis is presented in five chapters of which Chapter 1 represents the background to the study, Chapter 5 summarises the study with recommendations and a conclusion, whilst Chapters 2 – 4 constitute the greater part of the research. Chapter 2 – Towards a definition of an effective conductor, offers a perspective on the various roles of conductors and investigates the nature of the art of choral conducting in order to move towards a definition of an effective conductor. In Chapter 3 – Current choral conducting curricula, the present situation with regards to choral conducting curricula in Australia, Austria, Canada, Czech Republic, Estonia, Finland, Germany, Hungary, Norway, Philippines, Russia, Slovenia, South Africa, Sweden, the Netherlands, the United Kingdom and the United States of America is discussed. Chapter 4 – Choral conducting skills, examines the knowledge and skills that ought to be part of a choral conductor's proficiency. The meaning of each component and its characteristics are discussed. The primary method of research was the review of literature in order to acquire an in-depth understanding of the theme under investigation. The researcher also used the Internet as source of information on national and international choral conducting curricula. / Dissertation (DMus)--University of Pretoria / Music / unrestricted

The purpose of this essay is to explore how the application of the Alexander Technique, as taught from the point of view of the Interactive Teaching Method (ITM), can be of benefit in performance preparation as well as in the enhancement of the musician’s practice and performance in general. Although the specific performance described in this paper was for violin, the argument is made that the exploration and methods of practice would be of benefit to any musician. This paper describes the experience of a study of the Alexander Technique. Information is provided about the Alexander Technique, its origins, principles and practices. The application of Alexander’s work to violin playing in general is discussed, and specifically to the preparation for the performance of Sonata Duodecima by Isabella Leonarda. / <p>Isabella Leonarda: Sonata Duodecima Opus 16</p><p>Elizabeth Jackquet De La Guerre: Sonata No 1 in D minor for Violin &amp; Cembalo</p><p>Antonio Bonparti: Invention No 1 in A major (from 12 Inventions for Violin)</p><p>Baroque Violin: Aingeala De Búrca</p><p>Cembalo: Mayumi Kamata</p><p>The sounding part has been archived.</p><p></p>

No description available.