Music theory pedagogy in Malta: implications for practice in higher education from the perspectives of teachers, lecturers and students

This study examines insights concerning teachers’ and students’ perspectives, strategies and experiences of music theory teaching and learning in Higher Education in Malta. Inspired by a combination of approaches (case study, constructivist-interpretivist), the research aimed to provide an empirical exploration of music theory teaching at the Malta School of Music (MSM), whilst acting as a backbone, to the researcher’s design and structure of two study guides for the higher theory grades. Findings from the empirical part of the study suggest distinctive core skills for all music theory learners in Higher Education. These are aural and sight singing skills, analysis skills, part-writing and composing skills, keyboard harmony and impovisation skills. The theoretical framework has also identified approaches that music theory teachers could adopt for effective teaching such as student-centred and inquiry-based learning, using a variety of music repertoire, adopting creative digital technologies, connecting theory with practice and assessment through portfolios. In particular, responses from the participants in the study suggest that active listening, keyboard harmony and improvisation, analysis through a variety of repertoire, student-centred approach that encourage the students’ creative voice in composition, the connection of theory with practice, digital technologies and the organisation of the portfolio assessment were all underscored as being pivotal in the students’ musical development. The thesis concludes with recommendations on the content and ways of teaching of music theory in Higher Education directed at helping students to connect actively with the subject in a pragmatic and enjoyable way. Besides the written submission, the separate portfolio submission also includes sample material from the final versions of the music theory guides for Grades VII and VIII that the researcher has created, which will form part of the forthcoming music theory workbooks, compiled by the researcher upon the request of the Maltese Government

Principles for designing an effective, post-compulsory music curriculum suitable for Western Australia

A new post-compulsory Music course known as the Western Australian Certificate of Education (WACE) Music course was recently introduced into Year 11 and 12 in Western Australian (WA) schools. Following a convoluted process of creation, its implementation into classrooms has been problematic. Given criticism levelled at its process of creation and implementation, the researcher questions whether the WACE Music course embodies effective, recognised principles to support the effective teaching and learning of music. This study investigates the principles which should form the basis of an effective, post-compulsory music curriculum, suitable for WA. It involved a literature review which sought to produce a set of principles for teaching and learning frameworks based upon international best practice in music education, and applicable in the unique geographical, historical and multicultural WA context. In addition, the study employed a researcher–designed survey instrument to examine whether Western Australian music teachers perceived these principles to be evident in their practical experiences of the new WACE music course. With the subsequent publishing of a draft Australian National Arts Curriculum, it is an appropriate time to review the principles which should underpin an effective Music curriculum for senior secondary students in the WA context because, without a clear set of guiding principles that are understood by curriculum writers, there is a possibility that following courses could be fundamentally flawed and not serve the best interests of students

Designing expressive engagement with electronic and hyper instruments.The Electrumpet a case study

Using values-led participatory design (Iversen, Halskov, & Leong, 2013) as a foundation, this thesis argues the importance of values in the design decisions that steer the conception and development of new electroacoustic musical instruments. A model is introduced that defines seven distinct Personas, as different perspectives on the creation process of ‘performing instrument designers’. Second Order Virtuosity (Hildebrand, Lopes, Hoelzl, & Campo, 2016) and the persona model are cross-examined, substantiated by the virtuoso practice of peer ‘performing instrument designers’ (PIDs). The Electrumpet, a hyper instrument, is used as a case study for the application of the model in relation to its improved design and the evaluation of its progress as a musical instrument in general. The thesis concludes with a description of the technical implementation of the improved Electrumpet system and the compositional and improvisational strategies implemented

Sydney Conservatorium of Music handbook

2005 handbook for the faculty of Music / 2005 handbook for the Sydney Conservatorium of Musi

Sydney Conservatorium of Music handbook

2006 handbook for the faculty of Music / 2006 handbook for the Sydney Conservatorium of Musi

Sydney Conservatorium of Music handbook

2004 handbook for the faculty of Music / 2004 handbook for the Sydney Conservatorium of Musi

Sydney Conservatorium of Music Undergraduate Handbook 2010

Dissertação de mestrado em Roads to Democracy(ies), apresentada à Faculdade de Economia da Universidade de Coimbra, sob a orientação de André Brito Correi