Der Beitrag klärt die Verwendung und Bedeutung des Begriffs der Praxis in der musikdidaktischen Literatur. Zunächst werden hierfür die Praxisbegriffe der deutschsprachigen Autoren H. J. Kaiser, J. Vogt, Ch. Wallbaum und Ch. Rolle sowie der englischsprachigen Autoren Th. A. Regelski, D. J. Elliott und Ch. Small anhand relevanter Primärliteratur herausgearbeitet und dargestellt. In einem zweiten Schritt werden die Theorien und Modelle jeweils auf ihre didaktischen Implikationen hin untersucht und ihre Eignung für die Umsetzung im Hinblick auf eine reale Lehr-Lern-Situation eingeschätzt. Schließlich werden die Praxisbegriffe der sieben behandelten Autoren in Relation zueinander gebracht, Gemeinsamkeiten und Unterschiede aufgezeigt. Entsprechungen bezüglich des Verständnisses von Praxis werden konstatiert insbesondere zwischen Regelski, Kaiser und Vogt einerseits, sowie zwischen Small, Elliott, Wallbaum und Rolle andererseits. Erstere rekurrieren auf aristotelische Begrifflichkeiten und fokussieren den ethischen Aspekt einer praxis, das „richtige“ Handeln bzw. „gute“ Leben; Letztere stellen die durch musikalische Praxis mögliche (positive) Erfahrung des „flow“ (Elliott), des Ästhetischen (Rolle; Wallbaum) bzw. idealer Beziehungen (Small) in den Mittelpunkt ihrer Betrachtungen. / This work discusses the use and meaning of “praxis” (practice) as a technical term in music education literature. Relevant texts of the German-speaking authors H. J. Kaiser, J. Vogt, Ch. Wallbaum, and Ch. Rolle as well as of the English-speaking authors Th. A. Regelski, D. J. Elliott, and Ch. Small are analyzed and compared in terms of the authors’ understanding of “praxis”. Similarities are identified among (1) the work of Regelski, Kaiser, and Vogt and among (2) the work of Small, Elliott, Wallbaum, and Rolle. While the former group of authors refers to Aristotelian concepts and focuses on the ethical aspect of praxis, the latter group reflects the (positive) experience of “flow” (Elliott), the experience of the aesthetic (Rolle, Wallbaum), or the experience of ideal relationships (Small) – each possible through musical practice (or rather “praxis”).

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This action research project seeks to explore the question, “how can the community dances of Alberta’s past become a context for learning in the Alberta grade four music program?” This question gives the researcher an opportunity to explore several things, one of which is David Elliott’s idea of music education as praxis, which is explored through teaching a unit of instruction “praxially,” and having it culminate in a cultural/ musical event, a historical community “schoolhouse dance” simulation. Because the research method for this project is action research, the researcher is able to interrogate his practice as a music teacher. Finally, at a time of planned change to Alberta’s fine arts curriculum, this study contributes to the discussion about what the nature of arts education in Alberta can - and should - be by exploring the areas of: community involvement; student engagement; and the integration of other subject areas within music learning. / Ethnomusicology

Der Beitrag klärt die Verwendung und Bedeutung des Begriffs der Praxis in der musikdidaktischen Literatur. Zunächst werden hierfür die Praxisbegriffe der deutschsprachigen Autoren H. J. Kaiser, J. Vogt, Ch. Wallbaum und Ch. Rolle sowie der englischsprachigen Autoren Th. A. Regelski, D. J. Elliott und Ch. Small anhand relevanter Primärliteratur herausgearbeitet und dargestellt. In einem zweiten Schritt werden die Theorien und Modelle jeweils auf ihre didaktischen Implikationen hin untersucht und ihre Eignung für die Umsetzung im Hinblick auf eine reale Lehr-Lern-Situation eingeschätzt. Schließlich werden die Praxisbegriffe der sieben behandelten Autoren in Relation zueinander gebracht, Gemeinsamkeiten und Unterschiede aufgezeigt. Entsprechungen bezüglich des Verständnisses von Praxis werden konstatiert insbesondere zwischen Regelski, Kaiser und Vogt einerseits, sowie zwischen Small, Elliott, Wallbaum und Rolle andererseits. Erstere rekurrieren auf aristotelische Begrifflichkeiten und fokussieren den ethischen Aspekt einer praxis, das „richtige“ Handeln bzw. „gute“ Leben; Letztere stellen die durch musikalische Praxis mögliche (positive) Erfahrung des „flow“ (Elliott), des Ästhetischen (Rolle; Wallbaum) bzw. idealer Beziehungen (Small) in den Mittelpunkt ihrer Betrachtungen. / This work discusses the use and meaning of “praxis” (practice) as a technical term in music education literature. Relevant texts of the German-speaking authors H. J. Kaiser, J. Vogt, Ch. Wallbaum, and Ch. Rolle as well as of the English-speaking authors Th. A. Regelski, D. J. Elliott, and Ch. Small are analyzed and compared in terms of the authors’ understanding of “praxis”. Similarities are identified among (1) the work of Regelski, Kaiser, and Vogt and among (2) the work of Small, Elliott, Wallbaum, and Rolle. While the former group of authors refers to Aristotelian concepts and focuses on the ethical aspect of praxis, the latter group reflects the (positive) experience of “flow” (Elliott), the experience of the aesthetic (Rolle, Wallbaum), or the experience of ideal relationships (Small) – each possible through musical practice (or rather “praxis”).

This thesis examines the processes and outcomes of a composer-teacher's practice in the context of a New Zealand secondary school. The research was undertaken by the composer-teacher/researcher as a case study that integrates an investigation of the context with four action research music composition projects developed as a creative response to that context. Chapters One to Three comprise the background theory. Chapter One provides an introduction and overview of the research; Chapter Two explains and justifies the research methods. Chapter Three peels away and examines five layers of the secondary school context identified as significant in shaping the perceptions of the participants: approaching the context in a multi-layered way enabled coherent synthesis and appraisal of the relevant literature. Chapters Four to Seven comprise the four action research music composition projects. Each action research project focuses on a music score composed by the composer-teacher/researcher for a specific group of students at Macleans College, Auckland. The composition, production, and performance processes are investigated from the perspectives of all the participants. Each music project comprises a four part progression - plan (composition process), data (music score), data analysis (recordings of performances, surveys, and interviews with all participants) and reflection (feedback, and feedforward into the next project). Each phase of the research generated significant outcomes, such as the four original music scores. Chapter Eight summarizes the themes, issues, and patterns that emerged, and makes recommendations for further research. A model of co-constructive practice emerges from this research: teacher and students co-construct artistic worlds through performance. The model is not new (it is common practice, adopted by generations of musician-teachers) but is rarely acknowledged and currently un-researched. This research demonstrates the validity of the practice from both musical, and teaching and learning perspectives, and examines the strengths and limitations of the model. At its best, the creative processes co-constructed by a teacher with her students are shown to provide a crucible within which intense and creative learning experiences occur. Students of all levels of ability are shown to gain confidence in this context, and subsequently develop skills with apparent ease. The co-constructive model is limited in that it cannot meet the musical needs of all students: co-construction should be considered as one model of practice, appropriate for use in association with many others. This research provides 'virtual access' to a particular world of performance practice, revealing the secondary school context as a realm of authentic and valid musical practice.

Três bacharelandos de piano em momentos diferenciados da formação acadêmica - um iniciante, um de meio de curso e um formando – foram acompanhados ao longo de um semestre acadêmico com vistas a investigar como preparavam seus repertórios pianísticos em termos de mobilização de conhecimentos musicais. O método de pesquisa foi o estudo muliticasos, orientado pela perspectiva longitudinal de corte transversal. Quatro técnicas de pesquisas complementares foram empregadas: entrevista semi-estruturada, não-estruturada, de estimulação de recordação, assim como observação de vídeo. A mobilização de conhecimentos musicais foi interpretada a partir de estratégias utilizadas pelos bacharelandos para avançar a preparação do repertório. A noção de mobilização foi fundamentada a partir de Charlot e aprofundada pelos princípios aristotélicos entre meios e fins. As estratégias empregadas pelos bacharelandos foram estudadas à luz de dois modelos de conhecimento musical da literatura: matriz de habilidades cognitivas de Davidson e Scripp e formas de conhecimento musical de Elliot, assim como interpretadas a partir da base aristotélica de pensamento, em conjunto com a literatura específica de pesquisas em prática instrumental. A presente tese argumenta que a mobilização de conhecimentos musicais ocorre de maneira cíclica em aprofundamento qualitativamente diferenciado em termos de produção musical. As estratégias mobilizadas durante a preparação possuem natureza e finalidade distintas. Elas podem ser ações aprendidas ou criadas especificamente para o momento de preparação. Paralelamente, essas estratégias são empregadas para fins de disposições de investigação e de auto-regulação. Através de equilíbrio entre ações e atividades, e entre disposições de investigação e de auto-regulação, os conhecimentos musicais são mobilizados, avançando a preparação do repertório. / Three undergraduate piano students, in different moments of their academic education – a freshman, a sophomore and a senior – were followed during an academic semester in order to investigate how they mobilize their musical knowledge when preparing their repertoire. Multicase studies were used as research method, combining a longitudinal perspective in a transversal design. Four complementary research techniques were employed, namely, semistructure interview, non-structured interview, recall stimulated interview, and observation of the performance. The mobilization of music knowledge was interpreted from the strategies employed by the students in order to progress the repertoire preparation. The notion of mobilization was grounded on Charlot and deepened by the Aristotelian principles. The employed strategies by the undergraduate students were investigated through two musical knowledge models: matrix of cognitive skills from Davidson and Scripp, and the conception of musicianship and the five forms of musical knowledge by Elliot, as well as interpreted according to an Aristotelian basis and together with data from the specific literature of instrumental practice. The present thesis argues that the mobilization of musical knowledge take place in a cyclic manner in qualitatively deepening in terms of musical production. The mobilized strategies during practice are different in nature and in goal. They can figure as learned or creative actions specifically created for the moment of practice. Also, such strategies can be employed as survey and self-regulation tools. By means of balance between actions and activities, and between survey and self-regulation mechanisms, musical knowledge is mobilized, improving the repertoire preparation.

Três bacharelandos de piano em momentos diferenciados da formação acadêmica - um iniciante, um de meio de curso e um formando – foram acompanhados ao longo de um semestre acadêmico com vistas a investigar como preparavam seus repertórios pianísticos em termos de mobilização de conhecimentos musicais. O método de pesquisa foi o estudo muliticasos, orientado pela perspectiva longitudinal de corte transversal. Quatro técnicas de pesquisas complementares foram empregadas: entrevista semi-estruturada, não-estruturada, de estimulação de recordação, assim como observação de vídeo. A mobilização de conhecimentos musicais foi interpretada a partir de estratégias utilizadas pelos bacharelandos para avançar a preparação do repertório. A noção de mobilização foi fundamentada a partir de Charlot e aprofundada pelos princípios aristotélicos entre meios e fins. As estratégias empregadas pelos bacharelandos foram estudadas à luz de dois modelos de conhecimento musical da literatura: matriz de habilidades cognitivas de Davidson e Scripp e formas de conhecimento musical de Elliot, assim como interpretadas a partir da base aristotélica de pensamento, em conjunto com a literatura específica de pesquisas em prática instrumental. A presente tese argumenta que a mobilização de conhecimentos musicais ocorre de maneira cíclica em aprofundamento qualitativamente diferenciado em termos de produção musical. As estratégias mobilizadas durante a preparação possuem natureza e finalidade distintas. Elas podem ser ações aprendidas ou criadas especificamente para o momento de preparação. Paralelamente, essas estratégias são empregadas para fins de disposições de investigação e de auto-regulação. Através de equilíbrio entre ações e atividades, e entre disposições de investigação e de auto-regulação, os conhecimentos musicais são mobilizados, avançando a preparação do repertório. / Three undergraduate piano students, in different moments of their academic education – a freshman, a sophomore and a senior – were followed during an academic semester in order to investigate how they mobilize their musical knowledge when preparing their repertoire. Multicase studies were used as research method, combining a longitudinal perspective in a transversal design. Four complementary research techniques were employed, namely, semistructure interview, non-structured interview, recall stimulated interview, and observation of the performance. The mobilization of music knowledge was interpreted from the strategies employed by the students in order to progress the repertoire preparation. The notion of mobilization was grounded on Charlot and deepened by the Aristotelian principles. The employed strategies by the undergraduate students were investigated through two musical knowledge models: matrix of cognitive skills from Davidson and Scripp, and the conception of musicianship and the five forms of musical knowledge by Elliot, as well as interpreted according to an Aristotelian basis and together with data from the specific literature of instrumental practice. The present thesis argues that the mobilization of musical knowledge take place in a cyclic manner in qualitatively deepening in terms of musical production. The mobilized strategies during practice are different in nature and in goal. They can figure as learned or creative actions specifically created for the moment of practice. Also, such strategies can be employed as survey and self-regulation tools. By means of balance between actions and activities, and between survey and self-regulation mechanisms, musical knowledge is mobilized, improving the repertoire preparation.

Três bacharelandos de piano em momentos diferenciados da formação acadêmica - um iniciante, um de meio de curso e um formando – foram acompanhados ao longo de um semestre acadêmico com vistas a investigar como preparavam seus repertórios pianísticos em termos de mobilização de conhecimentos musicais. O método de pesquisa foi o estudo muliticasos, orientado pela perspectiva longitudinal de corte transversal. Quatro técnicas de pesquisas complementares foram empregadas: entrevista semi-estruturada, não-estruturada, de estimulação de recordação, assim como observação de vídeo. A mobilização de conhecimentos musicais foi interpretada a partir de estratégias utilizadas pelos bacharelandos para avançar a preparação do repertório. A noção de mobilização foi fundamentada a partir de Charlot e aprofundada pelos princípios aristotélicos entre meios e fins. As estratégias empregadas pelos bacharelandos foram estudadas à luz de dois modelos de conhecimento musical da literatura: matriz de habilidades cognitivas de Davidson e Scripp e formas de conhecimento musical de Elliot, assim como interpretadas a partir da base aristotélica de pensamento, em conjunto com a literatura específica de pesquisas em prática instrumental. A presente tese argumenta que a mobilização de conhecimentos musicais ocorre de maneira cíclica em aprofundamento qualitativamente diferenciado em termos de produção musical. As estratégias mobilizadas durante a preparação possuem natureza e finalidade distintas. Elas podem ser ações aprendidas ou criadas especificamente para o momento de preparação. Paralelamente, essas estratégias são empregadas para fins de disposições de investigação e de auto-regulação. Através de equilíbrio entre ações e atividades, e entre disposições de investigação e de auto-regulação, os conhecimentos musicais são mobilizados, avançando a preparação do repertório. / Three undergraduate piano students, in different moments of their academic education – a freshman, a sophomore and a senior – were followed during an academic semester in order to investigate how they mobilize their musical knowledge when preparing their repertoire. Multicase studies were used as research method, combining a longitudinal perspective in a transversal design. Four complementary research techniques were employed, namely, semistructure interview, non-structured interview, recall stimulated interview, and observation of the performance. The mobilization of music knowledge was interpreted from the strategies employed by the students in order to progress the repertoire preparation. The notion of mobilization was grounded on Charlot and deepened by the Aristotelian principles. The employed strategies by the undergraduate students were investigated through two musical knowledge models: matrix of cognitive skills from Davidson and Scripp, and the conception of musicianship and the five forms of musical knowledge by Elliot, as well as interpreted according to an Aristotelian basis and together with data from the specific literature of instrumental practice. The present thesis argues that the mobilization of musical knowledge take place in a cyclic manner in qualitatively deepening in terms of musical production. The mobilized strategies during practice are different in nature and in goal. They can figure as learned or creative actions specifically created for the moment of practice. Also, such strategies can be employed as survey and self-regulation tools. By means of balance between actions and activities, and between survey and self-regulation mechanisms, musical knowledge is mobilized, improving the repertoire preparation.

Public school principals who provide and sustain music in elementary programs are often confronted with budgetary cuts and reduced funding for music education. There is a dearth of research regarding music as an essential element in K-3 education in low-income rural schools. The purpose of this generic qualitative inquiry was to explore and describe leadership practices of principals, who despite fiscal challenges, include and sustain music in the K-3 curriculum in a low-income rural area of a small county in North Carolina. Elliott and Silverman’s concept of praxial music education and Leithwood and Riehl’s philosophy of instructional leadership practices were used for the conceptual framework. Through individual interviews with principals (n = 4) and 3 focus groups with parents (n = 8) from Parent Teacher Organizations of elementary public schools in a low-income rural district, data were collected from a total of 12 participants involved with music education. Participants described the importance of and the criteria for including music in the K-3 program regardless of economic challenges emphasizing the significance of school principals’ leadership practices. Data were analyzed using open coding to find emergent themes. Results suggested that commitment to sustaining music education in the K-3 program comes from evidence of children’s development of creative and critical thinking. Providing opportunities for an enhanced education may create perspectives that lead students to become engaged citizens for a more equitable society. The findings may also encourage educational leaders to find ways to sustain music in educational programs as a contribution to positive social change.

Because music is sound, the development of the young child's musical intelligence is integrally linked to his/her auditive development. By neglecting to develop the child's musical intelligence, and in particular by neglecting the age-controlled auditive development of the young child, essential learning stages may be missed. It is therefore encouraging that the government has stated its intention to introduce a compulsory reseption year (Grade 0) for five to six year old children. There is, however, at present no comprehensive pre-school music education programme available which specifically focuses on the auditive development of the child in the process of developing his/her musical intelligence. In this study, a comprehensive music education programme based on the praxial philosophy of music education has been compiled. It promotes procedural knowledge (making music), without negating propositional knowledge (knowing about music). It is hoped that the study will assist the class teacher as well as the music specialist as they strive to develop the musical intelligences of South Africa's pre-school children. / Thesis (MMus)--University of Pretoria, 2004. / Music / unrestricted