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Thesis (Ph. D.)--Georgia State University, 1985. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 475-526).

Thesis (Ph. D.)--History, Technology and Society, Georgia Institute of Technology, 2007. / Rosser, Sue V., Committee Member ; Alexander, Eleanor, Committee Member ; Bayor, Ronald, Committee Member ; Hammonds, Evelynn M., Committee Member ; Usselman, Steven W., Committee Co-Chair ; Pearson, Willie Jr., Committee Co-Chair.

Theoretical perspectives of feminist pedagogy provide an alternative lens to examine the teaching and learning process within music education programs in higher education. Music programs have traditionally emphasized formal constructions and static content, which typically are associated with Western European, patriarchal ideologies. Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. When examining the music education literature, particularly as it relates to diverse groups, a feminist instructional approach addresses the interconnections of race and gender as social and cultural constructions, which are almost absent from higher education research altogether. Using the intrinsic case study model and qualitative data, I examine ways feminist pedagogy and Black feminist pedagogy, are integrated into the undergraduate music program at Spelman College, a historically Black college for women. I also investigate how course curricula are inclusive of both traditional feminist and Black feminist pedagogical principles. I explore how discourses of gender, as well as race, play a role in the pedagogical practices of teachers within a single-sex institution committed to the education and empowerment of women of color. Furthermore, I describe ways in which students are influenced by both traditional feminist and Black feminist pedagogical approaches, and how music educators are fulfilling the need to teach music outside their own experiences, which are in some cases, a Western European patriarchal approach. Using Barbara Coeyman’s (1996) four principles of traditional feminist pedagogy for women’s studies in music and the general music major curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action), as a theoretical framework the following three components were examined in this study: context (structural influences of gender and race), content (curriculum and course design), and pedagogy (classroom instruction and goals). Data was ascertained through triangulated measures of interviews with faculty and students, observations of class time and performances, and document collection of relevant data sources (e.g., course syllabi, music department handbook, and performance programs). I used findings from the research to demonstrate how discourses of gender and race permeate the institutional environment at Spelman College, and have direct links to curricula structure, as well as the institutional mission of the teaching and learning process of its students. I also used findings to further enhance the knowledge base of music education literature and implications for African-American females in higher education. Finally, suggestions were given as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students.

Syftet med denna studie är att undersöka om det finns grundläggande skillnader i undervisningsmetoder och pedagogiska förhållningssätt mellan fiolpedagoger inom genren svensk folkmusik. Jämförelsen fokuserar på lärare med respektive utan formell musiklärarexamen inom genren. Fyra kvalitativa telefonintervjuer har legat till grund för undersökningen där de med respektive utan examen representerats av två personer var. Den teoretiska utgångspunkten för studien har varit det sociokulturella perspektivet. Studiens resultat visar att det är mer som förbinder än som skiljer de fyra pedagogerna åt. Här finns ett betonande av gehörsundervisning, spelglädje och musikalisk funktion, vilket hör till traditionen i den svenska folkmusikgenren. Detta är en stor del av det sociokulturella perspektivet där tradition, sociala sammanhang och fysiska artefakter är centralt. Dock är det möjligt att se ett tydligare inslag av institutionaliserade kunskaper bland de med formell lärarexamen. Här finns ett större användande av noter och en något mer uttalad progression i pedagogiken. Här finns också en större öppenhet för genrebredd, medan de utan musiklärarexamen mer renodlat inriktar sig på svensk folkmusik och vad genrens historik grundas på. / The purpose of this study is to investigate whether there are fundamental differences in methodologies and pedagogical approach between violin pedagogues of the genre of Swedish folk music. The comparison focuses on teachers with and without formal music teacher education in the genre. Four qualitative telephone interviews were the basis for the study, where two people each represented those with and without a degree. The theoretical starting point for the study has been the socio-cultural perspective. The results demonstrate that there is more connecting than separating the four teachers ate. Here is an emphasis on ear training teaching, joy and musical function, which belongs to the tradition of the Swedish folk music genre. This way of working is connected to the socio-cultural perspective, where tradition, social context, and physical artefacts are in focus. However, it is possible to see a clearer part of institutionalized knowledge among the teachers with formal teaching qualification. These teachers have a greater use of notes and a slightly more pronounced progression in education. They also have a greater openness to all music, while those without a music teacher education more purely focuses on Swedish folk music and what the genre's history is based on.

Thesis (M.A.) - Carleton University, 2008. / Includes bibliographical references (p. 129-136). Also available in electronic format on the Internet.

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