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    From Tin Pan Alley to the Royal Schools of Music : the institutionalisation of classical and jazz music : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Sociology at Massey University [at Albany]
    (Massey University, 2000) Ubeda, Patricia Rosalind
    This thesis argues that the development of both classical and jazz music has been influenced by motivating conditions which have existed within differing and changing religious, social and political regimes. It argues also that the motivating conditions have been generated and regenerated by social forces and factors in society. Presently, a breakdown of these former modes of regulation, which created a gulf between classical and jazz music, is taking place as both genres come under one institutional administrative locus, the Associated Board of the Royal Schools of Music. A focus has been made on new opportunities for the teaching and the learning of jazz piano music generally as presented by this institution. An implication is made that a break-down of attitudes, identified within social class, which previously kept classical and jazz music apart is taking place. This theoretically driven narrative locates both classical and jazz music against their respective historical backdrops. From this perspective, the ideas of various theorists have been drawn upon in order to make an understanding of how the motivating conditions are perpetuated. Attitudes, opinions and experiences from local classical and jazz music teachers and pupils, past and present, among others, are drawn on to solidify the theoretical arguments made in this thesis. Whilst an institutional wedding of classical and jazz music has taken place, philosophical artistic difference and intellectual development of each genre based on socialisation, it is argued, will remain.
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    Talking about transition : an exploration of the secondary to tertiary process for music students in a New Zealand context : a thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Music in Musicology, Te Kōkī, New Zealand School of Music
    (Massey University, 2015) Wenden, Lynne
    There are complex challenges facing music students majoring in performance in New Zealand as they transition from secondary to tertiary study. As a result of their pretertiary experiences, these students form identities and develop subjectivities that are often discordant with notions of a broadly conceived degree-level education. Through exploring transition using ethnographic and interpretive approaches, it is clear that significant numbers of performance students are not engaging with the more theoretical aspects of their music degrees and can in fact be actively resistant to acquiring knowledge in areas of the curriculum that they perceive as falling outside those necessary to become a performer. This research suggests that education systems in secondary schools in New Zealand contribute considerably to these student subjectivities as despite individual levels of knowledge that students bring to their tertiary studies, these systems result in significant homogenous subjectivities and approaches. More generally, secondary schools appear unable to consistently prepare music students for their tertiary music studies for reasons that include curricula that is: widely interpreted, compartmentalised, heavily weighted towards assessments, and, in terms of performance assessments, lacking in validity. In ‘talking about transition’ within a New Zealand context, questions arise concerning pre-determined educational practices, which present unnecessary and prohibitive hurdles that can serve to culturally alienate our own students. For this reason and others, this research suggests these students will benefit from socio-culturally relevant pedagogical practice in addition to systems that provide accessible, manageable, and meaningful connections between secondary and tertiary levels of knowledge. Research findings also suggest that improved communication between education sectors and between institutions and students is key to empowering students with regard to their own learning.
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    Crossing in style : an exploration of the vocal and presentational elements to be considered when classical singers cross over into the jazz genre : this thesis is submitted in partial fulfilment of NZSM 596
    (Massey University, 2008) Graham, Jessica L
    Classical singers of all levels have experimented with genre crossover to jazz for many years. Many continue to do so today and the position held by genre crossover singers in the future will most likely be substantial- influencing the worlds of both music education and performance, and impacting culture and society in general. Classical to jazz genre crossover singers can be more successful in their endeavors if they devote time and energy to educating themselves about mechanical (physical mechanics of the voice) and stylistic performance (presentational facets) aspects of jazz singing. While there are currently many resources pertaining to classical singing mechanics, there are not many that address jazz singing mechanics. Additionally, there are many resources that discuss jazz style (or stylistic performance aspects), but few that discuss classical style. These gaps in information prove detrimental to the singer attempting classical to jazz genre crossover. The aim ofthis project is to explore these gaps and offer foundational knowledge necessary for classically-trained singers attempting genre crossover into jazz, consulting mainly vocal production books and classical and jazz practitioners. The mechanical aspects of singing explored are: breathing; register and registration; resonance and acoustics; timbre. The stylistic performance aspects of singing explored include: improvisation; non-verbal communication.
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    Singing a joyful song : an exploratory study of primary school music leaders in Aotearoa New Zealand : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Education at Massey University, Palmerston North, New Zealand
    (Massey University, 2011) Boyack, Jennifer Elizabeth
    This thesis explores the work of generalist primary school teachers who work in music leadership roles in their schools. There is an absence of research into the work of such teachers who play a key role in children’s formal and informal music learning, and who represent the musical ‘face’ of their primary schools. This study addresses this music research gap by collecting and analysing the stories and observing the work of a sample of teachers for whom music is both a personal and professional passion, and contributes to our general understanding of the work of primary school teachers who love music and share it in their schools and classrooms. Five men and five women representing a range of personal and teaching experience and demographics participated in the study. All participants were interviewed about their work as primary school music leaders and were also observed undertaking a regular music leadership activity of their choice. Interview transcripts and observation notes were analysed in relation to the three research questions that address who the teachers are and how they came to be music leaders; the work they do and the skills, knowledge and understandings that underpin that work; and the significance of their work. Key findings related to the interplay of personal and professional factors in the development of these teachers’ identities as primary school music leaders, the complex and multi-faceted nature of the role, and the broad significance of their work to the teachers themselves, the children they teach, and their wider school communities. In addition, themes of identity, emotionality and curriculum context emerged as important frameworks for understanding the data with Wenger’s (1998) ‘communities of practice’ utilised as a unifying theory. The study contributes to a body of locally-based and international research concerned with music’s place in the primary school curriculum, the role of music teachers and leaders in sustaining music in the curriculum, and the value and benefits associated with music teaching and learning. In addition, it has practical and theoretical implications for teachers, teacher educators, and curriculum leaders at institutional and policy levels.