Faculty of Education - Theses
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ItemDo parents matter? : a study of the attitudes and experiences of parents whose children are studying instrumental music by the Suzuki method( 2002)This study explores the role of the parent in instrumental music study by the suzuki method. twelve parents of young, suzuki-trained musicians were interviewed. the experience of their children's instrumental music learning varied from two years to eleven years, and the instruments represented were flute, violin, piano, guitar and 'cello. The interview questions ranged from the parents' earliest memories of their childrens first introduction to music and the first lessons, to parents' thoughts of the place that music will take their children's adult lives. Information was also sought on the parents' thoughts on the intrinsic features of the suzuki method including home practice, the listening program, rapport with the teacher in individual lessons and the impact of group lessons, graduations and solo performances. Recent research into the factors governing the learning area of instrumental music has shown the significance of parental support in aiding the enthusiastic stimulation of children's learning ability. These features were found to be of significance in successful Suzuki parenting. The interviews yielded 228 responses from which the results were extrapolated. A happy environment proved to be the most dominant factor in the development of optimal musical ability with special mention made to the games played in early lessons on the enjoyment of other Suzuki activities. Parental attitudes were also important. the child's interests were paramount and the parents appeared committed to a long-term period of study with their children. It was shown that both parents and children developed perseverance, patience and persistence through the program. Interactions between child, parent and teacher were also recognized as important. Many parents expressed appreciation for the support given by teachers, some requesting more help, either directly or indirectly. Many parents noted the development of self-discipline and the growth of self-esteem in their children. It was clear that an early beginning with music studies (before school age) was an advantage to the development of acute aural awareness, finger dexterity and memorizing ability, as well as other qualities such as confidence. The Suzuki philosophy appears to have had great influence on the attitudes of the parents of this study in regard to music learning and its effect on the development of character.
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ItemIt isn't always about playing the right notes-- : meeting the needs of gifted secondary school students with jazz improvisation( 2007)The aim of this research is to examine what particular aspects of gifted education and gifted learning are evident within a secondary school based jazz combo. The curriculum content focussed on jazz improvisation: this curriculum and the combo setting are examined and analysed through the lens of a gifted learning pedagogy. The experience of the Jazz Combo is examined through the experiences of two students who form the case studies from which all data was created. Both students were interviewed at the beginning and end of ten week period and their responses were analysed for evidence of gifted learning. This study suggests that a jazz improvisation curriculum is a valid and beneficial learning area for gifted music students. Particular gifted learning processes including creative thinking, producing creative outcomes, ability based grouping, and small group learning were all evident and of value in this project. This research reveals creativity and freedom as potential motivating factors for gifted students while highlighting the need for gifted students to be involved in specialised learning environments that target their needs.
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ItemAn investigation into the design and implementation of professional development programmes in technology for music teachers( 2009)The ,purpose of this study was to investigate the design and implementation of professional development programmes in technology for music teachers. The aim of the study was to identify characteristics of effective professional development and formulate a new paradigm for professional development. Music technology offers much to enhance music education for students, but many teachers are apprehensive about using it. The study examined research literature related to music education, information and communications technology and professional development. A school-based action research project provided practical data for the study. Reflection on this project and the literature found that effective professional development in music technology is school-based, authentic, collaborative and ongoing. Teachers will reap the benefits of such professional development when they participate in online communities of learning, engage in reflective practice, embrace lifelong learning and seek the guidance of mentors.
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ItemAn investigation into students' perceptions of the use of technology as a teaching tool in the music classroom( 2000)Music Technology is an increasingly important focus in the compulsory music classroom programs of secondary schools but limited research has been undertaken on how it impacts on student learning. This study focuses on students' experiences and perceptions of Music Technology within an independent, coeducational college. It has not been the intention of the study to compare the effectiveness of Music Technology against traditional classroom techniques but rather highlight possible teaching applications when integrated into an established music program. Hence, the study has attempted to develop an approach to the use of Music Technology in the classroom environment. A review of past and current research showed that there is a dearth of material that shows technology to be the 'ultimate' teaching tool that writers of many technology programs claim. Problems included a lack of longitudinal research and investigation undertaken with limited types of technology 'software'. General learning, theory were discussed as a means of developing ideas as to how learning technologies might be used in the classroom environment. Data for the investigation took the form of questionnaires, structured interviews, participant observation and recorded lessons. From this data five themes were recognised, based on how students felt the technology was impacting on their classroom experiences. In summary, these were: 1. With regard to effective learning in a Music Technology Laboratory, students preferred activities involving a degree of structure. 2. Students recognised the inability of the technology to actually teach them anything at all, however, they were aware that technology is a useful aid in the learning of music. 3. Students recognised the differences/ similarities between the Music Technology Laboratory and the traditional classroom environment and how this affected their learning. 4. Students did not recognise gender as being a factor in their ability or inability to be successful using Music Technology. 5. Students were generally positive about Music Technology. Music Technology can be a powerful tool when correctly used within the music classroom. This study tries to identify, from both student responses and the experiences of the researcher, ways that Music Technology can be used in order that effective learning can take place. Parallels are drawn from the learning theories of Vygotsky and Bruner and related to the experiences a student might have in a Music Technology Laboratory. A major focus for this study proposes the teacher as being a key element in the successful use of Music Technology and how this cannot be underestimated in the overall implementation of a successful program. The quality and relevance of the technical and professional support must also be of a high standard at all stages of Music Technology implementation.
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ItemMusic performance skill development : student perspectives( 2003)For musicians of all capability levels the continued development of skills in music performance is crucial. Performance skill development is a key area of study within music performance subjects at Victorian Certificate of Education (VCE) level. In Units 3 and 4 Music Performance subjects, 75% of assessment relates to performance skill development outcomes. Given that such significant value is placed on the development of performance skills, it is relevant to examine student perspectives of the processes in which they are involved as they develop as performers. Exploring perspectives of students engaged in the development of music performance skills as part of VCE Music Performance studies was the key focus of this investigation. Student perspectives were investigated within a single VCE Music Performance class of eight students that I taught, using qualitative research techniques that allowed the personal narrative perspectives of students to be illuminated. Data collection methods included interviews, videotaped performances and student reflective activities. A theoretical perspective for the study was gained from music cognition and performance research and musical skill development literature. In exploring the perspectives of students whom I taught, I hoped to give a broader audience to the voices of students, as student perspectives are under represented within performance skill development literature. Through investigating the personal narrative perspective of individual participants, the complex nature of the development of performance skills for the individual became apparent. Participating students' perspectives of performance skill development incorporated elements that are valued within the structure of the VCE, together with past, present and future motivations. Student perspectives also valued intangible elements such as humour and friendships. The findings indicate that because of the personal nature of the process of performance skill development, it is crucial that teachers are aware of the perspectives of students. For music educators, gaining an understanding of the process of performance skill development from a student perspective should allow educators to better facilitate the process of performance skill development among student musicians as individuals.
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ItemIs musical achievement linked to learning styles ?: an investigation into a year 6 instrumental band program( 2009)This study examines the question of whether musical achievement is linked to learning styles. The research study focuses on issues of multiple learning style definitions, positive and negative aspects of testing for learning styles. Additionally the arguments for and against the identification and matching of learning styles is explored. Popularity, commercial appeal and avenues to achievement are major issues arising out of the literature. Conclusions: The research group is a Year 6 Band Program at a Prep to Year 12 school in the northwest suburbs of Melbourne. Participants included 56 students who play a range of band instruments for the first time. Academic results from students' musical performances were compiled and compared to the results of a learning styles questionnaire. The questionnaire used was Reid's Perceptual Learning Styles Preference Questionnaire (PLSPQ). Learning style questions covered 6 major styles- Kinesthetic, Individual, Group, Auditory, Visual, and Tactile. Results from the questionnaire were analysed in a quantitative manner. Five analyses were run derived from the questionnaire data pertaining to: the whole cohort, gender, instrument type, achievement level and the combination of all variables. Results showed that differences lie between gender and achievement level. Levels of achievement across the participants were exceptionally high therefore certain components of the research question could suggest further research into medium to low achieving students. Nonetheless, insight into learning styles of beginner instrumentalists is found and informing of educational practice is concluded. With this stated, ground has arguably been established for further research into this topic.
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ItemWhy play jazz?: an investigation into meaning of participation in a primary school music ensemble( 2000)This study investigates the meaning which students find through membership of a music ensemble. As teacher-researcher data was collected from interviews, rehearsals and performances. The work is based on observation of thirteen members of a primary school jazz ensemble. The case studies are presented in a narrative style focussing on individual students. The reports have been grouped according to similarities in their responses. The study identifies five main factors which give meaning to music making for individual members of the ensemble. It then draws some inferences for making music meaningful for students.