PK 6Bj( ( refs.MYD
; Adams, Zilla E. 1995[ Recent Developments in the Mainstreaming of Blind Students into Lower Secondary Class Music MMusEd Western Australia University of Western Australia thesis- The purpose of this study is to investigate recent developments in the mainstreaming of blind students into lower secondary music classes and to determine to what degree the music curriculum has to be modified to meet the needs of integrated blind students. The study investigates: the significance of the role of the home environment and external support networks concerning blind students undertaking school music programs and the impact of informal learning experiences on the musical learning process of blind students; the general attitudes of both blind and sighted staff and students associated with the integration of blind students into lower secondary mainstreamed classrooms; the effectiveness of integrated music programs within the school environment and the modification of these programs and resources to meet the needs of blind students; the impact of private music teaching systems on blind students undertaking music within the school environment; and the current direction of integration in Australia and the possible influence of European trends. An analysis of the Western Australian Unit Curriculum Class Music and Instrumental and Ensemble components 7611 and 7621 was undertaken to determine the appropriateness of the syllabus in music instruction for blind students. Information regarding blind students attending lower secondary mainstreamed classrooms was collected from a selection of sample schools in Brisbane, Sydney and Melbourne, but the main focus of the research was a case study currently enrolled in a school in Perth which offered class music units. The research showed that the highly developed listening, perception and aural skills acquired by the majority of blind students in the music learning environment questioned the focus of visually based music literacy programs undertaken by secondary school music students in Australia. It also revealed that the majority of blind students encountered in the study found that mainstreamed music learning was less satisfying that their musical experiences with other blind students, indicating that the current European trend towards more segregated learning may be appropriate for blind students in Australia. Also the validity of Braille music literacy could be challenged by the use of current technology such as voice activated screen reading computers. 1 Completed$ ; Alexander, Adrienne 1997J A Study of Current Practice in Flute Pedagogy for Beginner Students in NSW MMus(MusicEd) New South Wales University of Sydney thesisW In order to ascertain trends in current teaching practice of flute teachers throughout New South Wales, a questionnaire was designed to discover methods used by flute teachers to teach tone production, finger facility, and articulation to students in the first three years of instrumental tuition.
This study has also attempted to determine the activities and materials flute teachers prefer, when teaching beginner students. Finally, it has sought to discover if there is a teaching tradition concerning these practices amongst flute teachers in New South Wales. Much of the research in this study is based on ideas presented by Robert Schenck (1989), who suggests that instrumental teachers should try to encourage a well rounded musician by teaching many facets of music, rather than only teaching flute technique. In this study, twenty five flute teachers responded to the questionnaire revealing various trends and specific approaches to the teaching of flute in New South Wales. The trends which are evident in the results show that there are several preferred exercises and techniques of teachers to develop the areas of tone development, finger facility, and articulation, teachers emphasise technical skill more so than general musicianship, and there is also evidence to suggest that some teaching tradition exists between flute teachers in New South Wales. 3 Completed=e; Allison, Dianne J. 1985? Music, Non-Verbal Communication and the Visually-Impaired Child 42
MMus(Prelim) Victoria University of Melbourne minor thesisY The present thesis argues that, since auditory skills play a major role in the visually-impaired child's perception and integration of the world, music—being primarily an aural experience—can be used to teach non-verbal skills. These skills should therefore be taught at the earliest possible age with the assistance of the use of music ... 4 Assoc Prof Denise Erdonmez Completed ; Amato, N. 1989A The Design and Implementation of a Keyboard Scale Tutoring System MSc Western Australia University of Western Australia thesis7 This thesis examines the application of artificial intelligence techniques to the design and development of a tutoring system for keyboard scale performance. The thesis describes the numerous artificial intelligence techniques which were developed and applied to the construction of a tutoring system. These techniques were utilised to represent the domain knowledge, model the student's knowledge, and capture the teaching expertise required to achieve effective scale instruction and assessment. By use of logic programming, the large amount of scale knowledge has been reduced to a set of rules embedded in the system's scale knowledge base. The knowledge representation produced a flexible knowledge base which is employed in numerous ways in the system. Scale performance diagnostic expertise was developed in order that a student model could be constructed. The use of numerous student modelling methods has resulted in a flexible and powerful model of the student's internal cognitive structures. In addition, the control components for each pedagogic state of the tutoring system have enabled adaptive, dynamic instruction to be achieved. The resulting system has scale note, fingering and performance knowledge, scale performance diagnostic expertise, a powerful student model and effective instructional capabilities. 5 Completed e; Anderson, Alan J. 1999D The Value of Itinerant Instrumental Teachers in Regional Communities MEd New South Wales Southern Cross University thesis
State and national bodies have identified the provision of music education in Australian schools and community programs as inconsistent, of variable quality, and consequently in need of reform: Country areas have been identified as a priority. A recurring theme in these calls for reform is the contention that limited instrumental tuition in schools creates inequitable outcomes, especially for students who cannot afford private tuition. A number of studies argue that the disintegration of centrally co-ordinated instrumental programs and itinerant music teacher systems in some states has served to create further inequity. Towards producing evidence of the merit in expanding these systems, the present study examined the value of itinerant instrumental teachers in two regional communities.
Semi-structured interviews were held with 24 music teachers from two distinct regions: 1) a region of Queensland where itinerant instrumental teachers play a central role in providing instrumental tuition, particularly in State schools; 2) a region in New South Wales where the Department of Education and Training (NSW) does not employ itinerant instrumental teachers as such. Teachers provided factual information and personal perceptions about music activity, the professionality of music teachers, the provision of instrumental tuition and student outcomes, in relation to their respective regions. Through comparative analysis of the interview data and relevant themes drawn from music education research literature, the study examined the question: Can itinerant instrumental teachers make an appreciable difference to music education in regional communities?
This study found that the effectiveness of itinerant instrumental teachers depends considerably upon the context in which they are employed, and the suitability of their music training and experience. The need for sufficient teaching space and good co-ordination between itinerant instrumental teachers and classroom teachers were identified as determining factors. The study suggests that itinerant instrumental teachers are likely to be most effective when employed within structured instrumental programs which bridge primary and secondary schools. Demand for itinerant instrumental teachers was found to be strong, and primarily related to the fact that individual classroom teachers generally face limitations regarding the styles of music and range of instruments they are equipped to teach effectively, much less find time to teach. Consequently, it was found that, in spite of a lack of formal teacher training, itinerant private instrumental teachers (with sound expertise) can provide classroom teachers with valuable assistance in establishing school bands and orchestras. This was particularly evident in relation to primary schools without music specialists. The Queensland region appeared to be ahead of the New South Wales region in aspects of: music activity; provision of instrumental tuition; the professionality of teachers; and, student outcomes. The clearest contrast between these regions was evident in terms of more consistent and growing instrumental music activity between schools in the Queensland region. This seemed to correspond with the Queensland schools' more extensive use of qualified itinerant instrumental teachers, and classroom music specialists in primary schools. The study concluded that expert itinerant instrumental teachers can make an appreciable difference to music education in regional communities. 6 Dr John Geake and Dr Keith Skamp aander10@scu.edu.au Completed ; Anderson, F.A. 1997n Musically Gifted Students in the First Year of Secondary School: Identificaiton and Curriculum Differentiation MEd New South Wales Southern Cross University thesis In music, hereditary factors and an enriched early background form the basis of successful achievement. Also necessary are the will to practise, the drive to perform and the ability to analyse. A profound interest and fascination for the language of music sets musically gifted children apart from their peers, and poses problem for the classroom teacher when programming for the wide variety of musical experiences required in the junior secondary mandatory music class. The study investigated how the identification of gifted and talented music students at the beginning of secondary school might inform the provision of a more appropriate approach to program planning for junior high school music. The use of the music evaluation kit (MEK) as a tool for testing skills mastery in music, alongside observed classroom behaviours, was the basis for the identification and selection for a differentiated music curriculum. The entire incoming year 7 group (N = 200) participated in the study, initially through participating in testing using Parts I, II, III and V of the MEK. Students who reached criterion on the MEK were selected to undertake a student-centred enrichment project (SCA 1) with parental consent and with the support of the school’s GATE committee. A second group of students who were observed having superior playing skills and/or interest was given the opportunity to participate in a similar enrichment class (SCA 2). A third class (SCA 3) was formed through a selection of students who achieved comparatively better on the MEK but not on the semester exam (SE). Students’ scores on the MEK, the SE and the end of year test (EYMT) were statistically compared. There were some significant differences on the mean scores of students selected for SCA enrichment projects on the basis of MEK results, and those students not undertaking SCA projects. It was concluded that provision for gifted and talented music students in the junior secondary school, in order to comply with current Department of School Education policies and to follow the recommendations in the gifted and talented research literature, must stem from an awareness of individual differences that leads to differentiated programming. 7 Completed
e; Ap, Emily 1998f Finding the Balance: Enhancing Piano Lessons to be Appropriate Learning Experiences for Young Children 127 MEarlyChildhood New South Wales Macquarie University thesisx Learning and practising the piano is not usually an intrinsically motivating activity and can be a source of daily stress for many children and their parents. Mastery of a musical instrument will always involve acquisition of skills. However, the didactic methods by which those skills have traditionally been taught to young children frequently do not reflect current knowledge about the way children learn and develop. Current constructivist perspectives advocate child-guided approaches to learning. This study involved the development of a creative activities program for teaching piano repertoire was thus developed based upon a framework of developmentally appropriate practice as stated by the National Association for the Education of Young Children (Washington DC). In the program, children chose to learn a piano piece by Australian composer, Roderick MacFarlane. Enhancement of the chosen repertoire occurred through meeting the composer at a concert where the children performed their selected pieces; through making art responses; through exploring the piano by creating sound effects; and through improvisation and composition.
A qualitative methodology was employed utilising observational data in the form of a teacher journal, analysis of documents, art responses which were triangulated with data from structured interviews and a parent questionnaire. Further triangulation was achieved through the comments of two external analysts.
The results of the research indicated that the majority of the children were able to master piano performance skills through participating in a creative piano program which was both appropriate and enjoyable. Moreover, the findings indicated that parental involvement was possible in piano lessons and highly important in facilitating achievement and motivating interest of the children. An increase in self-efficacy was found, not only for the children, but for the parent and the teacher as they mutually supported each other in the learning process. The findings also suggest that cultural factors particular to Hong Kong Chinese may affect parenting styles and subsequently children’s performance in constructivist, child-guided educational approaches.
Implications for piano pedagogy, instrumental music teachers and parents are included. Recommendations for future research are included as well as specific suggestions for future action research cycles. 8. Assoc Prof Wendy Schiller and Dr Louie Suthers Emilyap@aol.com.au Completedj; Ashley, June V. 1987 The Influence of Early Formal Music Training on the Music Aptitude of Young Children: An Evaluation of Levels I and II of the Yamaha Junior Music Course MEd Western Australia Murdoch University thesis[ The primary purpose of Part I of this study was to ascertain the extent of the influence of formal training on test scores of children aged 4 - 6 using the Gordon (1979) Primary Measures of Music Audiation (PMMA). These results provided further support for Gordon's theory regarding the developmental nature of music ability; that is, that scores on his measures tend to fluctuate in accordance with the musical environment in which each child finds himself. Two hundred and sixty-one children aged between 4 and 6 were tested on the PMMA after 30 weeks of exposure to formal and less formal training. These subjects comprised three groups, matched for socio-economic status and home music environment. Two received more formal music training, albeit oriented towards different methodologies; one received less formal music training. Results indicated that those receiving Yamaha formal instruction scored highest on both tonal and rhythmic subtests, those receiving other formal instruction scored slightly lower and those receiving less formal training scored lowest.Part II of this study was concerned with an evaluation of levels I and II of the Yamaha Junior Music Course. Certain stated objectives were tested at both levels and results revealed that except for the most important objective, aural recognition of three-note tonal patterns, all were realised. 10 Completed 5e;
Ashurst, Prue 1997 The Influence of Experience in the Kodály-based Intonation and Rhythmic Techniques on the Sight Singing Abilities of Adolescent Students MMus Western Australia University of Western Australia thesis
Not available 11 Assoc Prof Helen Stowasser Completede;
Askew, Graeme 1992n A Buberian Perspective on Music Education: Implications for the Music Curriculum in Victorian Primary Schools 117 MEd Victoria La Trobe University thesis This thesis provides a general principle upon which music education might be based. A discussion about the nature of music, including various descriptions of its symbolism, aesthetic nature, spiritual import and its physiological and psychological effects, indicates that its importance is not in an objective existence, but in the relationship between composers, performers, listeners and music. A holistic framework, based on the philosophy of Martin Buber, is proposed. Buber's description of 'concreteness' is briefly evidenced in examples of musical experiences from the East, which involve an emphasis on a subjective relationship through the intuitive and holistic experience involved in immersion within the art. In contrast, Buber's notion of 'abstraction' is primarily analytic. Buber's paradigm provides criteria for the planning and evaluating of music curricula. These criteria include the need for a music curriculum that caters for students within a multicultural society. A review of music curriculum materials used in Victorian primary schools since 1933 and governmental and private reports on music education in the state reveals that the subject has received little attention and that the meagre experiences given to children have been dominated by singing. Furthermore, course rationales promoting concrete aesthetic experiences have not been borne out in activity guidelines. An examination of documents currently used for music education reveals that, although the range of experiences has been widened, there has been a continuation of interest in empirical information to the detriment of the intuitive experience. In conclusion, suggestions are made regarding the development of holistically designed courses where the intuitive experience of wholes precedes the study of parts. 12' Mr Vincent D'Cruz and Dr Bernie Neville The thesis argument was used as a basis for the following book: Askew, G., Music Education in Primary Schools. Longman Cheshire Pty. Ltd.Melbourne, 1993 (270 pp). ISBN 0 582 874947 Completed
; Auh, Myung-Sook 1995f Prediction of musical creativity in composition among selected variables for upper elementary students PhD Overseas - USA (Ohio) Case Western Reserve University dissertation The primary purpose of the study was to examine the best predictors of musical creativity in composition among selected variables for upper elementary students. The selected variables were formal and informal musical experiences, musical self-esteem, musical aptitude, musical achievement, academic grades, IQ, and gender. Relationships between musical creativity in composition and the selected variables were also examined. Subjects were 67 fifth- and sixth-grade students enrolled in a public elementary school. Musical creativity of students was measured by a composition task. The individual students were asked to make up a song on an Orff alto-xylophone within 10 minutes. When they finished making up a song, they were asked to play the song and repeat it exactly the same. Three judges rated the compositions for five dimensions using a 7-point rating scale. The composition dimensions were Craftsmanship, Musical Syntax, Musical Originality, Musical Sensitivity, and Repetition of Song. Students also completed the following measures: the Musical Experiences Questionnaire devised by the investigator, the Self-Esteem of Musical Ability by Schmitt, the Musical Aptitude Profile by Gordon, and the Music Achievement Test by Colwell. The results were as follows: (1) Compositional creativity was significantly related to informal musical experience, musical aptitude-tonal, musical achievement-pitch, and academic grades. (2) The best predictors of compositional creativity were informal musical experience, musical achievement-pitch, and academic grades, which together accounted for 25% of the variance in total composition ratings. In addition, musical aptitude-tonal was also one of the best predictors when the individual composition dimensions were considered. (3) The strongest predictor of compositional creativity was informal musical experience, which alone accounted for 11% of the variance in total composition ratings. The finding that informal musical experience is the strongest predictor of compositional creativity supports Sherman's (1991a) notion. He states that students' musical experience outside school has been the main source of their creative involvement in music. The following implications were suggested for music teaching. Music teachers should (a) encourage students to enjoy creating music at home or outside school with friends and family members; and (b) emphasize the joy of music-making in class. 13> Available via Dissertation Abstracts International, 56, 3875A. Completed
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Bahr, Nanette 19969 Relationships between Musicianship and Mathematical Skill MEd
Queensland University of Queensland thesisn Historically, secondary school curricula have been segmented into discreet subject areas based on the traditional disciplines. In the recent Wiltshire Review, cognitive research into domain specific knowledge structures was used to affirm traditional disciplinary boundaries. To some extent this represents a superficial analysis of the curricular implications of cognitive research. In terms of human cognition, knowledge domains may not constitute distinct and singular entities. Rather, domains develop in ways that allow transfer from one domain to another. Anderson suggests that the key to the development of inter-domain relationships, is structural 'similarity'. This thesis investigates the relationship between two apparently unrelated disciplines - music and mathematics. Two studies were conducted to investigate the relationship. First, a pilot study examined whether a relationship existed in broad terms. Sixty-one university graduates were asked to rate their musicianship and mathematical skill. Perceived musicianship correlated significantly with perceived mathematical skill. Thus, this initial study supported the proposition that a relationship existed between the two domains. Second, the nature of this relationship was investigated. Specifically, the principal study tested the hypothesis that linkages occur across the domains of mathematics and music based on structural similarity. It compared the performance of 85 Year 10 students from a suburban Brisbane secondary school on musicianship and mathematical tasks which were structurally similar and dissimilar. Symbol use, pattern manipulation and spatial abstraction constituted the areas of structural overlap between the two domains. There was a significant positive correlation between musicianship and mathematical skill on structually similar tasks but not on dissimlar tasks. Thus, the data supported the hypothesis that relationships can develop between apparently disparate knowledge domains based on the structural similarity of the domains. This suggests that the traditional barriers established between discipline areas within school curricula do not necessarily relect the ways in which students cognitively structure their knowledge. Further, a move toward less rigid divisions between disciplines may be useful in promoting the development of more integrated and coherent student knowledge structures. 15 n.bahr@uq.edu.au Completed ;
Bahr, Nanette 1999L The impact of developmental experiences on exceptional pitch labelling skill 331 PhD
Queensland University of Queensland thesis
Not available 14 n.bahr@uq.edu.au Completed DE; Bainger, Lucia Gaye 2012H Effective professional development in music for early childhood teachers Faculty of Education PhD Victoria Monash University thesisA This study explores the experiences of three early childhood teachers in a year-long music collaboration. The aim of the research was to gain a deeper understanding of how best to provide practical professional development in music by listening to how the participant educators perceived and identified their needs throughout the collaboration. The aim of the collaboration was to increase the participant's music skills and confidence through a collaborative model of professional development, to instigate long-term changes to music teaching practice. In this longitudinal, phenomenological study, the researcher acted as a consultant and mentor to the participant educators, offering materials, suggestions, guidance and expertise. Data was collected through a series of semi-structured formal interviews, regular observations of the participant's working, followed by informal discussions. In addition, each participant kept a reflective journal which contributed to the data. This study does not attempt to generalise, but rather to gain a deep understanding of a small group of teachers in the hope of identifying the essential aspects of an effective collaboration model of professional development in music, finding directions that may prove to be applicable to early childhood teachers as a whole. The study makes practical recommendations for a more systematic and effective implementation of professional development in music to improve the provision of music in early childhood education in Australia.
This study found that a collaborative model of professional development, when conducted over a twelve-month period and located in the educator's working context, was efficacious in improving and establishing the participant educators' music skills, understandings and confidence, resulting in sustained improvements in teaching practice.
To meet the educator's needs, a music collaboration needs to address eighteen specific understandings, described here as the 'Group of Music Confidences'. The first and key step was to identify and interrogate educators' negative self-beliefs around musicality. 679, http://arrow.monash.edu.au/hdl/1959.1/574736/ Assoc Prof Jane Southcott and Dr Peter de Vries lucy@clearmail.com.au Completed
:e; Baker, William J. 1997% Marketing Musical Images in Australia 65 MEd(ArtsAdmin) Victoria RMIT University projectm The primary aim of this project was to examine the relationship between marketing and the professional performing arts in Australia. The investigation focused on the extent to which sample organisations understood and used marketing techniques in their daily operations. This investigation was founded on the assertion that performing arts organisations in Australia are operating in an increasingly competitive environment, and that effective marketing is essential to ensure that these organisations remain competitive.
Data were collected from four organisations by means of a sample survey, self administered by a management representative of each organisation. In some cases survey data were also supplemented by an interview with respondents regarding their survey responses. The four organisations sampled were: the Melbourne Symphony Orchestra, the Adelaide Symphony Orchestra, the Australian Chamber Orchestra, and the Australian String Quartet. These groups were selected because they are all artistically successful classical music organisations which are marketing essentially similar products, with varying degrees of financial support and success.
The sample survey was designed to investigate the respondentsí understanding of the marketing concept, and the use of marketing techniques in the daily operations of the organisation. The sample survey collected data relating to understanding of: definitions of marketing; marketing and strategic planning; market research; market segmentation; target audience; competition; product; position; pricing; product and corporate image; and the communication mix.
This project concluded that all organisations: had a clear understanding of the marketing concept and of the value and importance of marketing in their daily operations, displayed an understanding of the fundamentals of their product, its position and appropriate pricing strategies, and demonstrated a creative use of the four elements of the communication mix and were effectively engaged in communicating their products to their target audiences within the economic limits of the organisation.
The project also found that: while market research was not often conducted in a formal sense, all organisations had an excellent understanding of the appropriate market segments for their products, and a very clear understanding of the target audience and heavy user of their products. 18 Dr David Forest Bill.Baker@utas.edu.au Completed e; Baker, William J. 2002@ Education Programs of Performing Arts Organisations in Australia 184 EdD Victoria RMIT University thesis This study focused on the education programs of 22 major performing arts organisations in Australia. In 1996-97 all 22 of the organisations were funded through the Australia Council, directly through the Australian Broadcasting Corporation (ABC) or as independent subsidiary companies wholly owned by the ABC. The case studies presented in this study focused on the education programs managed by six of these 22 organisations, two music organisations, two theatre organisations and two dance organisations.
The study had three principal aims: (a) to collect and analyse data relating to the role played by the education programs in organisational objectives, (b) to develop case studies based on interviews with key personnel in selected organisations, and (c) the development of a conceptual model that would illustrate the relationships between education programs and organisational objectives.
This study was founded on the rationale that access to arts education is critical to the development of major performing arts organisations in Australia, because without an educated audience for their artistic products there can be no meaningful future. This study asserts that it is essential for performing arts organisations with a vested interest in an educated audience to participate in the process of educating and developing the potential audiences for their products. The three questions that provided the framework for this research study focused on (a) the identification of the key elements of the education programs of performing arts organisations, (b) the relationship of these programs to organisational objectives, and (c) the development of a conceptual model illustrating the relationships evident in the activities of selected programs.
It was possible to construct a conceptual model of the relationships between education programs and organisational objectives. There were three principal features of this model: (a) training experiences for young artists as a means of developing high artistic standards, (b) awareness experiences for current audiences as a means of developing community ownership of the organisation, and (c) educational experiences for the development of future audiences. 600! Associate Professor David Forrest Bill.Baker@utas.edu.au Completed E; W Ballantyne, Julie 2005_ Effectiveness of preservice music teacher education: Perceptions of early-career music teachers PhD
Queensland# Queensland University of Technology thesis The quality of teaching occurring in schools is directly linked to the quality of preservice preparation that teachers receive (Darling-Hammond, 2000). This is particularly important in the area of music teacher education, given the unique challenges that classroom music teachers commonly face (Ballantyne, 2001). This thesis explores early-career music teachers’ perceptions of the effectiveness of their preservice teacher education programs in Queensland. It also explores influences impacting upon early-career music teachers’ perceptions of effectiveness and early-career music teachers’ perceived needs in relation to their preservice preparation.
The study addresses the research questions through the use of questionnaires and semi-structured interviews. In Stage 1 of the research, questionnaires were completed by 76 secondary classroom music teachers in their first four years of teaching in Queensland, Australia. In Stage 2 of the research, 15 of these teachers were interviewed to explore findings from the questionnaire in depth.
Findings suggest that preservice teachers perceive a need for teacher education courses to be contextualised, integrated and allow for the continual development of knowledge and skills throughout their early years in schools. This research provides an empirical basis for reconceptualising music teacher education courses and raises important issues that music teacher educators need to address in order to ensure that graduates are adequately prepared for classroom music teaching. 601D http://adt.library.qut.edu.au./adt-qut/public/adt-QUT20051027.123126# Dr Ian Macpherson and Dr Jan Packer Completed ; Ban, Louise Giselle 1977J Problems and Solutions in Adapting the Kodály Method for use in Australia 281 MA New South Wales University of Sydney thesis
Not available 20 Completed e; Bannister, Roland S. 1996y 'Trained Killers or Creative Artists?': A Participant Observation Study of the Band of the Australian Army Base, Kapooka 370 PhD Victoria Deakin University thesis This dissertation reports on a study of music making in a band of the Australian Army Band Corps. The thesis of the dissertation is how the world views of the soldier-musicians of the Australian Army Band, Kapooka, are constructed in the context of their work in military music performance. In arguing this thesis, the author provides a brief history of military music in Australia, and
• demonstrates how rank and military discipline intersect with music making in the lived experience of the soldier-musicians;
• explores how the dichotomy between music making as a craft and music making as art is resolved in a setting where the employer regards music making as a trade, while the soldier-musicians strive to meet artistic goals;
• demonstrates how successful music making and successful soldiering are both forms of work which depend upon effective collective action;
• demonstrates that while military bands play the widest repertoire of musical styles of any Western music ensemble, the styles converge toward a homogenous, eclectic, military band performance style: and
• explores how military music, which may have limited intrinsic interest, in certain ceremonial settings may link with other visual and auditory symbol systems to generate profound meaning both for the soldier-musicians themselves and for their audiences.
The study examines the processes by which the world views of soldier-musicians are shaped by the institutional context in which they work, as they participate in a music tradition which has been a powerful agent in the shaping of Australian patriotic traditions.
The study uses a naturalistic participant observation methodology. The author worked as an honorary guest civilian member of the band's trombone section to collect data in the form of fieldnotes and interviews. Data analysis and interpretation was made according to the tenets of grounded theory. Evidence in the form of first hand accounts from the perspective of the researcher and from the soldier-musicians themselves is employed to generate both emic and etic understandings. An understanding of a music culture from the participant's point of view is a central concern of the study. 21, Prof Rob Walker and Assoc Prof Robin Stevens rbannister@csu.edu.a Completed ; Barbeler, D. 1997, Experiential learning in musical composition MMus
Queensland Griffith University thesis Of the recent educational theories, one in particular has emerged that appears to provide promising direction for the improvement of educational practices and culture. Due to the work of educational theorists like David Kolb, the principles associated with Experiential Learning have been refined and a solid Experiential Learning Theory now exists. The
implications of this theory in a variety of knowledge areas can now be explored. This paper is participating in such a process through an examination of Experiential Learning in the field of composition. This study is not simply motivated by academic curiosity however. In the current music education culture, a great number of areas for improvement are apparent. The educational objectives of encouraging creativity and self-reliance in students while retaining standards of academic rigour requires a philosophical and methodological approach through which certain cultural issues can be examined, modified and generally renewed. As an isolated theory Experiential Learning shows promise in this respect. This examination of its repercussions in a specific knowledge area like composition goes part way towards confirming this potential. This study has been conducted in three parts. Part one is concerned with outlining Experiential Learning. Characteristics are discussed, and psychological and educational predecessors are examined. In this way the evolution of Experiential Learning is discovered and its processes and philosophical nature revealed. The second part of this paper is concerned with placing Experiential Learning in the context of composition. Issues, creative phenomena and some myths associated with the field of composition are examined in light of Experiential Learning theory, and several conclusions emerge regarding methodology and pedagogy. The third part of the paper is concerned with the examination of practical examples of the application of Experiential Learning in composition. Two studies are presented. The first describes the musical workshop methods of Australian composer and educator Stephen Leek. The second gives an account of a two month composition program designed and conducted by the author. In this program Experiential Learning Theories and related methodologies and pedagogical practices were employed with encouraging results. 22 Completed }e;
Barber, Bruce 1990P An Analytical Survey of Percussion Education at the Immediate Pre-tertiary Level 344 MEd Victoria University of Melbourne thesis Research has been conducted amongst students of percussion with the purpose of identifying characteristics which may suggest the need to adopt particular teaching strategies to address problems related to educational background. A profile of percussion students at Box Hill College of TAFE Music Department refers to such matters as age, educational background, musical training and experience, learning skills and achievement. This profile is presented along with an analysis of some learning difficulties and problems encountered by students and the strategies adopted to address those problems. The role of published materials used in percussion teaching at Box Hill College of TAFE and the rationale for the writing of further tuition material is discussed. The content of the instrumental lesson and curriculum models which pertain to instrumental tuition form a large part of the study. 23 Faculty of Education b.barber@edfac.unimelb.edu.au Completed ; Barclay, Daryl James 2008u The sound of many voices: Investigating how principals view and influence massed singing in secondary boys’ schools EdD Australian Catholic University dissertation
This research focused on how three principals in Melbourne boys-only schools view and influence the place of massed singing within their respective school cultures. The views of the principals themselves and their own capacity for self-reflection were critical to the thesis. The study was underpinned by three theoretical propositions: principals, although not usually involved in the teaching of massed singing, nevertheless exert an influence on it; massed singing has a unique power to enhance the broader school culture; and, cultural assumptions about gendered participation in music-making can affect student attitudes towards massed singing. The review of literature highlighted three themes which informed the conceptual framework underpinning the research: organisational and educational leadership; the construct of masculinity in boys’ education and in leadership; and the nature and benefits of massed singing. Given the themes of the review, it seemed appropriate to undertake a study which would be essentially qualitative, interpretive, and based on indepth interviews with the key stakeholders. In the case of each of the three participating principals, data was collected from key documents produced by the schools, from a written questionnaire, and from a semistructured interview. The questionnaire was designed both to collect data and to raise participants’ consciousness prior to the interview. The questionnaire’s 17 questions, structured so as to address the three themes identified through the review of literature, were designed to create a flexible framework for an in-depth exploration of key issues in the context of the interview itself. Findings from the study indicated that there was a very strong belief amongst the participating principals that massed singing affects the overall culture of their schools in a range of profound and significant ways; that they themselves exercise a sponsorial or support role in relation to the singing programs in their schools, and rely on experts for the effective delivery of musical content; that traditional stereotypes of gender can be challenged and debunked through student participation in massed singing; and that their own personal histories of singing, and their favourable disposition towards it, are significant factors in how effectively they are able to promote and support it. The study findings have implications for school leaders and their boards; the teaching profession in general, and choral and vocal educators in particular; parents and the arts community; government education authorities and policy makers; and this researcher himself. Recommendations for further research have also emerged out of this study. 659F http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp226.13012010/ Completed
e;
Barklay, D.J. 2008s The Sound of Many Voices: Investigating How Principals View and Influence Massed Singing in Secondary Boys' Schools 323 EdD Victoria Australian Catholic University thesisL This research focused on how three principals in Melbourne boys-only schools view and influence the place of massed singing within their respective school cultures. The views of the principals themselves and their own capacity for self-reflection were critical to the thesis. The study was underpinned by three theoretical propositions: principals, although not usually involved in the teaching of massed singing, nevertheless exert an influence on it; massed singing has a unique power to enhance the broader school culture; and, cultural assumptions about gendered participation in music-making can affect student attitudes towards massed singing.
The review of literature highlighted three themes which suggested a conceptual framework for underpinning the research: organisational and educational leadership; the construct of masculinity in boys’ education and in leadership; and the nature and benefits of massed singing. Given the themes of the review, it seemed appropriate to undertake a study which would be essentially qualitative, interpretive, and based on in-depth interviews with the key stakeholders.
In the case of each of the three participating principals, data was collected from key documents produced by the schools, from a written questionnaire, and from a semi-structured interview. The questionnaire was designed both to collect data and to raise participants’ consciousness prior to the interview. The questionnaire’s 17 questions, structured so as to address the three themes identified through the review of literature, were designed to create a flexible framework for an in-depth exploration of key issues in the context of the interview itself.
Findings from the study indicated that there was a very strong belief amongst the participating principals that massed singing affects the overall culture of their schools in a range of profound and significant ways; that they themselves exercise a sponsorial or support role in relation to the singing programs in their schools, and rely on experts for the effective delivery of musical content; that traditional stereotypes of gender can be challenged and debunked through student participation in massed singing; and that their own personal histories of singing, and their favourable disposition towards it, are significant factors in how effectively they are able to promote and support it. 667* Dr Helga Neidhart and Dr Annette Schneider dbarclay@dodo.com.au Completede;
Barrett, B.E. 1990R An Errorless Versus a Traditional Procedure for Teaching Reading of Music Notation
MEd(SpEd)
Queensland) James Cook University of North Queensland thesis Errorless versus traditional teaching procedures were investigated to evaluate the effectiveness in the acquisition and retention of reading music notation and performance skill. Although clinically employed in a range of learning situations, the errorless discrimination technique does not seem to have been previously employed in learning music. An alternating treatments design was used to evaluate students' learning processes. An important aspect of the errorless procedure is the enhanced stimulus presentation of music notation using changes in the topography of the accepted published music notation. Measures used to assess learning efficiency were: error rate; time and citerion; short-term recall; long-term recall; and emotional responses. Results indicate that the errorless teaching procedure is demonstrably more efficient in error reducation and time taken to reach criterion. This research has important implications for both the music teacher and the music student. 25
Mr Jim Parker Completed e; Barrett, Margaret S. 1989 A Process Approach to Teacher Education: Music Curriculum Courses for Generalist Primary and Early Childhood Education Students MEd Tasmania' Tasmanian State Institute of Technology dissertation^ Music curriculum courses for generalist Primary and Early Childhood teacher education students have traditionally consisted of a series of learning experiences which reflect the pedagogical theories of prominent music educators. In such learning experiences, emphasis is generally placed upon the acquisition of a number of skills dealing with notational and historical precedents, and the development of some expertise in the areas of singing, listening, playing and creating. Whilst these experiences provide valuable insights into traditional music education pedagogy, students who have a limited personal knowledge of music and who do not consider themselves to be musically articulate or literate have frequently found such experiences alienating.In an attempt to redress this situation, a number of courses for generalist teacher education students have been developed. These courses provide music learning experiences which recognise the importance of the individual learner within a broad framework of process curriculum. Within these courses, emphasis is placed on developing a knowledge of music through practical experiences, rather than on the development of knowledge about music.This dissertation describes the teaching strategies and learning experiences of the courses implemented, and offers evaluative comments in regard to the validity of the program. 27 Dr Darrell Fisher Completed e; Barrett, Margaret S. 1996^ Children's Aesthetic Decision-Making: An Analysis of Children's Musical Discourse as Composers PhD Victoria Monash University thesis=
In this thesis I promote a view of children’s aesthetic decision-making as a non-verbal process which may be evidenced in the structural features children employ in their musical discourse as composers. I draw on the work of Polanyi and Wittgenstein to support the view that knowledge may be demonstrated as well as ‘stated’ verbally, and argue that the examination of children’s musical discourse as composers provides us with direct access to their musical thinking and aesthetic decision-making. I propose a view of the aesthetic as an ‘attitude’, or way of attending, held by or engaged in by a perceiving subject, and directed at or associated with specific properties of an art object or presentation. Through reference to the work of Parsons, Best, Redfern and Ross, I argue that aesthetic decision-making is objective, cognitive, and rational in character and is primarily concerned with issues of structure and form in an art object or presentation.Informed by an examination of research concerning children’s compositional processes and products I present case-study evidence that children as young as five years and nine months are capable of aesthetic decision-making as evidenced in their use of musical structure and form in their original compositions. Furthermore, I present evidence that suggests that children’s aesthetic decision-making as demonstrated in their use of structure and form in their musical discourse as composers is not necessarily linked to age or prior experience. The main implication for practice and research that arises from this study is that in examining children’s aesthetic decision-making we should not only attend to what children ‘say’ about music and musical experience, but importantly, we should also attend to what children ‘do’ in music, and the musical discourse that arises from such action. Whilst the development of the capacity to talk of music, its structures and form is an important aspect of music education, we should acknowledge that this capacity is not the only expression of aesthetic thinking. In focussing on verbal response alone in making judgements about children’s capacity to respond aesthetically to musical experience, we are not only in danger of underestimating their capacity to respond aesthetically, but also of limiting their response to that for which they possess the verbal sign. In an art form such as music where so much is conveyed through non-verbal means, we should avoid undue emphasis on verbal discourse and value children’s musical discourse as evidence of their aesthetic decision-making. 26 Prof David Aspin Completed +; Bartle, Graham A.R. 1966 Music in Australian Schools MMus Victoria University of Melbourne thesis
Not available 28o This thesis was presented in the form of a book entitled 'Music in Australian Schools' (ACER, Hawthorn, 1966). graham.bartle@gmail.com Completed ]D; Barton, Georgina 2003 The influence of culture on instrumental music teaching: A Participant-Observation case study of Karnatic and Queensland Instrumental music teachers in context Department of Music PhD
Queensland# Queensland University of Technology thesis This thesis aimed to investigate the unique relationship that exists between music and culture. More specifically, the purpose of the research was to determine to what extent culture is reflected in music teaching and learning. Understanding the effect that culture has on music knowledge transmission processes will assist in developing a framework for current music education practices to address the cultural diversity that is present in contemporary teaching and learning environments. An exploration of how music teachers teach, and how the cultural and social surrounds influence these practices in various contexts provided important information in developing such a framework. As such, a participant observation case study of ten music teachers who taught either the South Indian music tradition known as Karnatic music in Tamil Nadu, India, or Queensland, Australia, or who taught predominantly Western music in the Queensland instrumental music context, was carried out. Through a comparative study of these teachers it was observed that there were more similarities than differences in the methods of teaching used by the teachers. Both aural/oral and written modes of communication were used in each context albeit at varying levels. It was also discovered that the surrounding cultural rules and rituals, that were practised, significantly influenced the meaning attributed to the music teaching process for each of the teachers. In the main, for teachers of Karnatic music a strong spiritual attachment to both the gods and goddesses associated with the Hindu religion and the teachers’ own teacher/guru was evident. Conversely, in the Queensland instrumental music teaching context, powerful economic forces affected the approach that these teachers implemented. It is argued that with an awareness of these findings, music teaching and learning practices may more effectively meet the needs of students (a concern consistently raised in the literature) in the contemporary music education context. 621D http://adt.library.qut.edu.au./adt-qut/public/adt-QUT20040902.113454 Completed ; } Bennett, Dawn E. 2005Q Classical Instrumental Musicians: Educating for Sustainable Professional Practice 257 School of Music PhD Western Australia University of Western Australia thesis
This study extends understanding of the careers of classical instrumental musicians within the cultural industries, and ascertains the extent to which professional practice is reflected within current classical performance-based music education and training.
Little is known about the careers of classically trained instrumental musicians in terms of the activities in which they engage and the skills and attributes used to sustain their professional practice, and there is also widespread lack of understanding about the music industry and the wider cultural industries. The extent to which education and training reflects the careers of music performance graduates has gained heightened exposure at the same time as higher education institutions have become increasingly accountable for the employability of graduates, and yet much of the available literature has only tangential relevance and there remains a shortage of literature relating to the complex area of creative practice.
The research approach for the study bridges both the interpretive and normative paradigms. Using survey and interview methods, the study employs three distinct but interrelated data collections to investigate sustainable professional practice through analysis of musicians’ careers, performance-based education and training, and the cultural industries.
The study identifies the longitudinal characteristics of musicians’ professional practice and presents in a conditional matrix the intrinsic and extrinsic influences that impact upon it. The study proposes a practitioner-focussed Arts Cultural Practice (ACP) framework that consists of four practitioner-focussed, non-hierarchical groups which were determined through analysis of the major foci characterising roles within the cultural industries. As such, the ACP framework represents a new paradigm of sustainable practice that circumvents existing barriers; submitting a non-hierarchical view of cultural practice that clearly indicates the potential for an exciting diversity of holistic practice often not considered by practitioners.
The ACP curricular model posits the collaborative delivery of generic skills across artforms. This study substantiates the generic skills used by artists throughout the cultural industries, and confirms the rationale for education and training which considers the sustainability of music graduates’ careers as arts cultural practitioners. Thus, individual strengths and talents should be developed according to the intrinsic and extrinsic influences which drive the passion for arts practice.
Curricula should undergo continual renewal based on consultation with industry and educators, and should be delivered collaboratively by people who maintain professional contact with the field and possess up-to-date knowledge of the cultural industries. Thus, the ACP curricular model encapsulates a collaborative approach to maintaining curricular currency. When applied to tertiary curricula, students and practitioners will be provided with the necessary skills and knowledge to achieve sustainable careers.
A significant finding of the study is that Australia lacks effective cultural intelligence to inform efficient policy. Instead, Australia is reliant upon economic studies, and lacks effective data collection processes and a comprehensive understanding of the way in which artists live and work. The study found that Australia has much work to do to achieve a collective cultural industries voice and proclaim effective advocacy, as well as to ensure that data collection is sufficiently informed and accurate to create effective, intelligent change to cultural policy. Significantly, if the fluid working lives of artists is a sign of things to come in the general workforce, the inclusion of data on multiple job-holding is essential to Australian statistical collections. Likewise, it is imperative for graduate destination data to recognise the composite careers in which most musicians engage.
The study concludes that musicians in the 21st century require a broad and evolving base of skills and knowledge to sustain their careers as cultural arts practitioners. When implemented, the impact of these findings will be to create a more intelligent and informed cultural environment in which practitioners can maximise their creative energies for national benefit. 4958 http://www.library.uwa.edu.au/adt-WU2006.0002/index.html Completed e; Bennetts, Katherine S. 1999S The Status of Music Literacy in Selected Melbourne Primary Schools in the Mid 1990s MA Victoria Monash University thesis The present research examines the role of music literacy in the context of a selection of Melbourne primary schools in the 1990s. It seeks to determine the importance of notation skills as they are perceived by teachers. In order to gain insight into current attitudes and practices, a questionnaire was sent to selected teachers. An effort was made to include a range of schools, including government and non-government schools, and schools of varying socioeconomic status. The responses of the thirty teachers who completed the questionnaire formed the basis of this study. An analysis of the results furnished the researcher with information pertaining to the significance or otherwise of music literacy in contemporary education. The identification of differences between the attitudes and practices of state and private music educators was of significant interest. The status of music literacy in the private sector could be described as ‘essential’, whilst ‘a useful tool’ best describes its status in the government sector.
This research provides information specific to the issue of literacy, and also provides a snapshot of primary music education in general, in its endeavour to place literacy within the context of the overall music curriculum. 30% Prof M. Kantomi and Dr Jane Southcott Completed e; Bennetts, Katherine S. 2008R Boys and Music: A Comparative Case Study of Middle School Boys' Attitudes to Music 350 Faculty of Education PhD Victoria Monash University thesis
Current research has generated significant discussion and concern regarding boys’ educational outcomes and the level of disengagement experienced by some boys in the school setting. Little debate, however, has been initiated to determine the place of the arts, particularly music, within this scenario. It is well established that many boys hold firmly gendered views regarding the appropriateness, or lack thereof, of involvement in certain musical activities. Some writers note that progress has been made in other subject areas, in terms of alleviating gender stereotypical behaviour, but suggest that music remains a bastion of gendered perceptions. It is of concern to many educators that some boys consistently restrict their choices to a narrow range of musical pursuits, potentially depriving themselves of life enhancing experiences, affecting both their school and post school lives.
Most Victorian schools teach music as a compulsory subject until the completion of Year 8, thereafter offering music as an elective. Focusing on selected Melbourne schools, this qualitative study examines the attitudes of boys in their final year of compulsory music education. It is acknowledged that adolescence is a potentially difficult time for some boys, as they seek to negotiate a sense of identity, and navigate pathways to manhood. Musical involvement is seen as an integral part of this journey, symbolising adolescents’ search for ‘acceptable’ masculinities.
This study seeks to investigate contrasting learning contexts and the degree to which these contexts may serve to either perpetuate gendered musical stereotypes, or to challenge and interrupt generally held stereotypes. Do some schools actively, albeit inadvertently, discourage boys from selecting broadly from their musical offerings? Conversely, are there certain learning environments which are successful in empowering boys to cross the frequently perceived ‘gender divide’? If so, how is this achieved? What factors are at play, in terms of whole school approaches to education, teaching styles, curriculum design, socioeconomic status, or school type (government, independent, co-educational, single-sex) which impact upon boys’ capacity to adhere to or challenge stereotypical perceptions?
Viewed through a phenomenological lens, and utilising case study methodology, these questions are investigated. The perceptions of teachers are sought via questionnaire, and classes are observed, but of prime interest are the boys’ voices, obtained through face-to-face interviews in small groups. Boys from four contrasting learning environments are interviewed, their attitudes ascertained, for the purpose of determining the learning contexts most conducive to middle school boys making broad musical choices.
Findings indicate that some school contexts are indeed more successful than others in encouraging boys to participate beyond the stereotypical. The impact of each school’s philosophy of education and music, and the practices that stem from such beliefs, are found have a significant influence on middle school boys’ musical participation. Whilst acknowledging a complex interplay of various factors, one of the most unanticipated findings was the contrasting views of boys in single-sex contexts compared with their co-educational counterparts. This study contributes to the current discourse that places boys’ musical participation on the agenda, prompting a reconsideration of several macro and micro school features. 658 Dr Jane Southcott Completed e; Benton, R.L. 1998R The effect of lip-slur on increasing pitch range in brasswind instrument students. MEd Western Australia Edith Cowan Unviersity thesis2 Lip-slur exercises comprise part of the practice routines of many professional and serious amateur brasswind players. There are several reasons why so many players practise lip-slurs. One of those reasons is the belief that lip-slurs contribute to the development of the brasswind high register. This study argues that, while there is a vast amount of anecdotal evidence from many authors that lip-slurs can contribute to the development of the brasswind high register, there has been little research to support this widely held belief. This study used a matched subjects control group pre- test/post-test design to test a researcher-designed lip-slur teaching program aimed at subjects in their second to fifth years of brasswind study. The subjects were in school years eight, nine and ten. The pre-test and post-test were a researcher-designed high register test utilising a chromatic scale. In order to account for family variables which might influence the experiment, a questionnaire was developed and various statistical procedures used to calculate the effect of family background. The results of this study indicated that lip-slurs play an important role in the acquisition of the high register by brasswind students. The degree of importance is dependent on various factors. From this study, it appears that a major factor is the ceiling effect.
Students who scored low to medium pre-test scores gained greater initial benefit from the inclusion of lip-slurs in the teaching program than those who had high pre-test scores. The students on whom the ceiling effect acted most were those who achieved high pre-test scores. This study concluded that low achievers can gain rapid short term advantage from lip-slur practice, while for high achievers, the inclusion of lip-slurs in the daily routine could lead slowly to long-term gain. 31 Assoc Prof John Williamson CompletedDg;! Berry, Anne 19973 Developing a Multi-media Approach to Teaching Cello$ Department of Music, Faculty of Arts MPhil
Queensland! University of Southern Queensland The decision to create the video teaching package Introduction to Playing the Cello arose from a perceived need to assist cello students isolated from specialist cello teachers. It is designed to be used by instrumental teachers whose primary musical training is an instrument other than cello. The video is designed to be used by buth teacher and student.... A handbook, designed to accompany the video, is for use by the teacher to supplement information provided by the video ... 32 Assoc Prof Laurie Lepherd Completed D;" Berry, Anne 2007N A Study of Australian Composition for Cello Suitable for Intermediate Students School of Music PhD
Queensland Univerisity of Queensland thesis
The decision to research motivation through repertoire in intermediate cellists arose from two different perceived areas of need. Firstly, it was found that there was a scarcity of availability and accessibility of Australian compositions for intermediate cellists. Secondly, the literature suggested that there was a need for the further research of intrinsic motivation in the field of instrumental pedagogy. A review of the literature found that research into intrinsic motivation in instrumental pedagogy was mostly related to the ‘process’ of developing and maintaining motivation. Of the research which examined the aspect of ‘content’ in the maintenance of intrinsic motivation, this was mostly related to ‘student choice’. This study emerged as a way of providing information to composers and teachers about what aspects of repertoire may be motivational. It investigates intrinsic motivation by questioning students and their teachers about which aspects of music repertoire are most likely to inspire students to practice more and strive for excellence. A discussion of the philosophies of Bruner and Csikszentmihalyi is included to give meaning and context to ‘intrinsic motivation’ in instrumental pedagogy. Research was conducted through purpose-designed questionnaires distributed to cello teachers and their students in Queensland. Questionnaires for teachers and students were very similar although the student questionnaire was a little shorter. The questionnaires gathered information on the most frequently used general teaching repertoire, as well as teachers’ experiences in teaching contemporary and Australian repertoire. Musical aspects investigated included style, emotional content, harmony, articulation, tempo (speed), tonality, and rhythm as well as cellistic techniques. This information was balanced with questions regarding the technical developmental requirements perceived necessary for intermediate students. In comparison with other motivators such as verbal encouragement, ensemble participation and preparation for performances and exams, repertoire was found to be a significant motivator for ‘students’ best work’. Students’ preference for challenging music, or by contrast, beautiful music was a persistent theme throughout the results. The three characteristics which were nominated as most motivating by both teachers and students were fast and lively, from the Romantic period and for cello and piano. The strongest difference between results for teachers and students was on the characteristic of folk feel which produced opposite results for the two groups of respondents. Some differences were also found within the respondent groups on the basis of gender and age. It is noted that students acknowledged the benefits of learning more advanced aspects of technique, such as thumb position, in expanding the pool of repertoire which they would be able to play. It was confirmed that Australian repertoire was not often taught to students at this level and that this was, at least in part, because of a lack of availability. Suggestions have been made for both composers and teachers in choosing techniques and repertoire for intermediate students. However, the importance of asking students about their preferences is borne out by the volume and detail of students’ individual responses. Also, by questioning their students, teachers are likely to be stimulating the valued development of ‘metacognitive strategies’ in adolescent students. 33 Completed WD;# Berry, Linda E. 19932 Melodic Improvisation: Ney, Bansuri and Shakuhachi Conservatorium of Music MMus(MusEd) New South Wales University of Sydney thesis This research-based paper examined prescribed musical features,improvisational procedures, attitudes of musicians and methods ofinstruction in relation to solo improvisation on 'flute' type instrumentsof several musical cultures. From the classical repertoires of Japan, India and Turkey, items were selected fortranscription, analysis and discussion. These included performances of Makam Rast on the Turkish ney, of Raga Yaman on the Indian bansuri, and of Reibo on the Japanese shakuhachi. The study explored in detail the structural bases of these threeapproaches to melodic improvisation and was supported by extensivefieldwork and assistance from informants belonging to the respectivetraditions. Transcriptions and analyses of separate renditions of the same piece enabled observation of differences betweenindividual performances and thus of certain aspects of improvisation withinthe particular system. Findings may assist in broadening the base ofimprovisation for Western students, and examination of the methods of instruction in other improvisational systemsmay contribute to a higher degree of musical flexibility and creativity inthe Western approach. 35 Completed ;$ Berry, L.E. 2001o Adolescents' Enjoyment in Listening to Unfamiliar Music: Effects of Contextual Information and Audiovisual Mode PhD New South Wales University of Sydney thesis? Listening to unfamiliar music frequently arouses a less than positive reaction, yet an affinity with a topic is motivational for learning. As it has been shown that initial distaste for a musical genre is particularly difficult to shift, this study set outto investigate means by which maximum provision can be made in high school music classrooms, to arouse an attraction towards unfamiliar music during the first hearing. The researchaimed to determine whether there was an identifiable relationship between the way in which recorded music is presented, and the degree of positivity with which students respond.
A sample of 438 secondary music students from Year 9, 10 and 11 classes was distributed evenly with respect to gender, school type, class-year and are amongst four treatment groups. Half the sample listened to an audio recording of the stimulus music, and the other half viewed a video of the same performance. Half of each of these groups was provided with a brief, informative introductoryannouncement. A researcher-designed questionnaire completed immediately after the musical performance provided data onsubjects' affective response, attention style, subjective familiarity, gender and musical experience.
Results indicated that subjective familiarity was strongly related to audiovisual presentation mode. Four attentional styles were distinguished:surface-analytic, structure-analytic, holistic and receptive. The provisionof contextual information would appear to assist enjoyment of unfamiliar music, particularly for boys. The strongest results found were the influence of enjoyment on subsequent interest in hearing more of the music, and that of individual difference in attention style, as a greater predictor of positive response to the music than presentation condition, subjective familiarity, musical experience or gender. 34 Completed L ;% Beston, Pauline 2001L Composition, Assessment and Pedagogy in NSW Senior Secondary Music Education PhD New South Wales University of Sydney thesisu In 1994 a change in the 2 Unit (Common) NSW music syllabus and examination altered the position of composition in the senior secondary music curriculum. As a consequence, music teachers were required to teach and assess music compositions written by students at that level. This change, a lack of research in composition assessment as part of a senior curriculum, and evidence which suggests that for many music teachers, implementing creative music programs in secondary schools is challenging, provided a rationale for the investigation. The purpose of this thesis is to explore how secondary music teachers in NSW responded to this change, by examining their practices in and perceptions of assessment of composition written in the senior secondary school. An underlying purpose of the study is to find how assessments influence teachers‚ composition pedagogy in the context of the senior secondary music curriculum.
Multiple-method triangulation was used in the investigation. The data-collecting instruments were a survey and an experiment, which were conducted with different samples of NSW secondary music teachers.
Results of the investigation show that teachers have similar perceptions about composition assessment and composition pedagogy. Teachers agree on assessment criteria, schedules, procedures, and have similar backgrounds in composition and fits assessment. Identified issues which have potential to influence composition assessment and pedagogy are gender, teaching experience, and a lack of consensus on a definition of Œcomposition‚. Although criteria consistently most valued are those related to the demonstration of craftsmanship in compositions, different assessment procedures result in changed assessments. There is a very strong relationship between composition assessment and pedagogy, and teachers integrate assessment into their composition teaching strategies. The introduction of syllabus and examination change in senior classes have influenced teachers‚ pedagogy at the senior secondary level. These changes have been instrumental in changing teachers‚ pedagogy throughout the whole secondary school music curriculum. 36 pbeston@idx.com.au CompletedX De;&