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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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.
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Item"They think it's girl's stuff": gender issues surrounding playing the violin at lower primary and lower secondary levels( 1995)Recent research in Arts education has focussed on the influence that gender has in terms of boys' and girls' participation. This study, drawing from Post-structuralist feminist theories, looks specifically at students' beliefs about playing the violin, and the subsequent restrictions to participation, particularly by boys, that may be influenced by gendered attitudes. Students from lower primary and lower secondary levels were interviewed. The results confirmed previous research that identifies two significant areas: school subject hierarchy, and the labelling of the Arts as 'feminine'. Music, and specifically violin, held a very low position in the hierarchy of subjects. While this did not influence a student's involvement in lower primary years, students in lower secondary years favoured subjects that they felt had specific career relevance. Furthermore, playing the violin was identified by students from Year Three to Year Eight as being associated with the 'feminine'. This association directly confronted the gender identity of boys who chose to play the violin. However, a number of contradictory findings arose, where students' involvement in playing the violin, irrespective of their gender, was positively celebrated. Firstly, this seemed to occur where students showed clear talent at playing, supporting the idea that a 'genius culture' exists. Students were proud to receive recognition from peers, teachers and family for both the hard work, and perhaps natural talent that achieved satisfying musical results. Secondly, a student's popularity was inversely related.to the amount and nature of teasing they suffered for participation in a subject that was labelled 'feminine'. Students who were popular, received much less teasing.
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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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ItemTeaching synthesizer performance: issues for an instrumental music program for synthesizer( 1994)This paper is an examination of issues involved in teaching the synthesizer as a musical instrument. It formulates and explores areas of study which could form the foundation for a synthesizer curriculum and explores methodologies which have been successful in synthesizer teaching. It is set in a context where synthesizer teaching is beginning to be institutionalised in Victoria, Australia, and considers what effects this is having, or may have, on training synthesizer performers who have traditionally been self-taught. The study is based upon literature in electronic music and music education, on interviews with expert synthesizer performers, and on case studies of synthesizer teaching from secondary and tertiary institutions. This paper draws upon these sources to identify important areas of study and issues which should be considered by those concerned with synthesizer teaching.