Faculty of Education - Theses
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ItemThe class teaching of music in state-supported schools in Victoria, 1853-1905( 1956)While studying recent developments in the class teaching of music in schools both overseas and in Australia, I became interested in the way in which music had been introduced into the early schools of Victoria, and began to ask these questions. Who were the first teachers of music in Victoria? What methods did they use? From whom did they learn their methods and what was the content of their lessons? After some background reading and thought I decided to begin this investigation, limiting it for the present, to the content and method of teaching music in the state-controlled schools in Victoria from 1853 - 1905. In the pages which follow, I hope to show how a tradition of music teaching was established in Victorian schools, tracing through England, influences from Germany and France. So that the methods of teaching used and the content of the lessons may be revealed, a survey will be made of the life and work of those concerned with the introduction of music into the elementary schools of England and Victoria. The training; of teachers of class music in Victoria will be discussed and, in so far as it is relevent to the period being investigated, music in secondary education will be included. As far as I can discover, no other research has been carried out in this subject in Australia. I hope that what I have written will not only arouse interest, but assist in increasing among leaders in education an appreciation of the value of music in schools. I should like to thank the following people, all of whom have shown great interest and have given me help and encouragement: Mr. E.L.French and Dr. T.II.Coates, School of Education, The University of Melbourne; Mr. !1.C.Brideson, Research Service of The Public Library of South Australia; officers of The Mitchell and Public Libraries, Sydney, The Public Library of Victoria, The Library of The Australian Council of Educational Research, Melbourne, and the Library of The Royal Historical Society of Victoria, Melbourne; Mr. Geoff. H.Allan, Managing Director of Allan & Co., Melbourne, for the access to the diary of Mr. George Leavis Allan; Mr. bar' of Allan & Co., for his assistance in locating copies of early music published by Allan & Co.; Mr. J.Alex. Allan, Clifton Hill, Melbourne, author of "The Old Model School", who lent me relevent original documents; Mrs. A.L.Eastaugh, South Lyndurst, Seaford, for information about her relative Mr. August Siede; Miss Gladys Rhys Davies, Beach Street, East Malvern, author of "Music Makers of the Sunny South", for a copy of her book and access to the original notes from which it was written; and Mr. A.E.H.Nickson of the University Conservatorium, Melbourne, who gave me valuable advice.
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ItemWalter Bonwick (1824-1883) : Walter Bonwick and the establishment of music teaching in the national schools of Victoria, 1855-1856( 1990)This thesis examines the development of music teaching in the National Schools in the vicinity of Melbourne for the years 1855 and 1856. While Walter Bonwick was not the first music teacher to be appointed by the National Board, he was the most influential, and from his appointment in February, 1855, began a career which was to span a quarter of a century. He continued as a vocal music teacher and later as a instructor of music teachers with the National Board and. its successors until his death in 1883, at the age of fifty-eight. Walter was a member of a circle of colonial teachers and- writers who were connected by marriage, and his success in obtaining a position with the National Board was certainly in part the result of the influence of his family and their friends. But the significance of his music teaching in 1855 and 1856 was his insistence on a modification of Hullah's system. Walter persuaded the Board that Hullah's system for teaching vocal music was unsuitable for the schools in the colony because the course was too long, the exercises too tedious, and the music not sufficiently pleasing or attractive to children. His solution was to request the Board to sanction the introduction into National schools of a Manual of Vocal. Music to be compiled by him. The Board agreed to his proposal, and so began a series of publications for instruction in the schools. This paralleled a similar request to the Board by his brother James to sanction his publication of a Geography text book for use in the schools. Walter's weekly reports reveal a wealth of detail of the incidents of colonial life; flood, heat, falling trees, death, and even toothache. They also show Walter to be sensitive, hard-working, and dedicated to his music and his pupils. The Secretary and Commissioners of the Board - are treated with respectful familiarity; rather unexpected in a subordinate. One hundred miles a week by horse, Walter was the archetypical peripatetic vocal music teacher.
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ItemThe identification of factors significantly correlated with out of tune singing and in tune singing in a class of fourth grade boys( 1991)This study sought to identify relationships between the ability or lack of it to sing in tune, and the attainment of four other physical and mental skills. The 49 subjects were 9 and 10 year old boys from an independent boys' grammar school. Testing procedure involved the use of song material, rather than single tone matching. None of the results showed a degree of significance that would justify further investigations study in these particular areas. Nonetheless, the absence of correlation between singing in tune and the ability to discriminate in tuneness seems to run counter to general opinion. It is suggested that a developmental programme for out of tune singers might include a vocal self-awareness component.
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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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ItemFlute forum : a discussion of ideas related to teaching the flute( 1994)This book presents a variety of ideas related to the teaching of the flute. Sixteen flute teachers at the primary, secondary and tertiary levels of education were interviewed on a range of subjects. The seven chapters cover the following topics: - the history of the Australian flute world - approaches and philosophies to teaching - selecting a student - organisation of the teaching environment - teaching obsessions - the mechanics of flute teaching, including breathing, tone, vibrato, high notes, embouchure and technique - some student viewpoints - stage fright and stress in music - orchestral and tertiary repertoire, auditions, career options and advice - flute playing in the year 2000 Each chapter is interspersed with interviewees' comments, prefaced by an introduction and supplied with additional information by the author.
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ItemAesthetics and general music education at primary levels( 1996)The aim of this research has been to develop educational resources which would contribute to any philosophical curriculum designed to stimulate children to reflect on their aesthetic experiences in music. The work is intended to be of value to primary school educators, particularly those working in philosophy with an interest in musical aesthetics, and those in general music education working to empower their students as music makers. I considered how providing children with direction, modelling, time and opportunity for philosophical reflection on their musical practices would enhance their musicality. I referred to material that Gary King and I developed in private preschool music classes, Artists-in-Schools projects under Arts Victoria, and in children's workshops for the Victorian Gifted and Talented Association. This material had proven useful in empowering children to express themselves creatively through music, dance, gesture and story, rather than circumscribing them as passive consumers of music. My philosophical background is shaped by the work of Ludwig Wittgenstein. For pedagogical purposes I appealed to the work of Carl Orff in music education and Matthew Lipman in philosophical education. Following Howard Gardner I drew on current ethnomusicological and psychological research, and the testimonies of composers describing the domain of musicality. The theoretical background of this thesis makes use of distinctions between 'person', 'domain' and 'field' as elaborated by Mihalyi Csikszentmihalyi. The project culminated in the development of some educational resources designed to stimulate children to reflect on aesthetic problems arising in the context of their musical experiences. Further work may focus on refining and publishing a handbook of exercises of this kind for use in Primary Classrooms.
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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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ItemStudents' participation, motivation and commitment to extra-curricular music( 1994)Students involved in the major extra-curricular activities of sport, music, drama and debating, the staff co-ordinators of these activities and the Principal, Vice-principal or Director of Studies at three Independent girls' schools of similar socio-economic standing, size and proximity in Victoria, were surveyed in 1992 to identify practices and influences on participation, motivation and commitment. Weiner's (1974) Attribution Theory was the initial basis on which the study was derived and Professor Edward P. Asmus's studies on motivation in music in the curriculum in American schools provided .a foundation on which to commence the research. 272 female students encompassing Years 7 to 12 were selected from the groups which the co-ordinators of each extra-curricular area ranked as having the highest, second highest, third highest and lowest status within each school. The data observes the overall responses of the three schools and also the schools' individual responses, thus allowing a comparison between them. Intrinsic and external determinants were identified as the student's perception of her own ability, the effort the student makes in an activity, the enjoyment the student gets from an activity, recognition and awards, the duration of an activity, the performance opportunities available, the achievement and success of a group, the role of the staff leader, student leadership, the difficulty of a task, the workload at Years 11 and 12, the means of travelling to and from practices and when practices are held. The outcomes of the research indicate that the participation in an extra-curricular music activity requires a much greater level of commitment than does commitment to the other extracurricular areas and that extra-curricular music introduces students to adult concepts. The findings also stress the importance of the role of the conductor not only in working directly with the ensemble but in the promotion of it. The enjoyment of an extra-curricular activity was strongly cited by students as their reason for joining and staying in the particular activity. Implications of these results and recommendations for further research were then discussed.
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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.