Music - Masters by Research Theses

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    Exploring the development and integration of music in preschool settings in Ireland
    (University College Cork, 2023) Ahern, Leah; Finnerty, Michelle
    This research study focuses on music in early years education, with a particular interest in children’s spontaneous musicking, early years educator’s perspectives of music education, and the role of music in the early years context; particularly preschool settings. The research study highlights the benefits of music education considering the role of music in children’s lives; also revealing the ability, potential and interests that are evident in children from a young age. The study reveals a clear understanding of the inner workings of music education within the context of preschool learning; appreciating that early years educators are the cornerstone of children’s early learning and must be supported. As part of the research, creative resource packs were designed in response to surveys, interviews and observations. The research study uses a qualitative approach to data collection, using a combination of literature, surveys, interviews and observations. The findings of this study presented a need for the integration of music training within early years courses and degrees, supports for early years educators to build confidence, access to music experts to encourage the provision of music and incentives for continuing professional development. These findings support the emergent model of pedagogy recommended by the National Council for Curriculum and Assessment to offer meaningful learning experiences.
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    Connecting classroom, school and community: the role of music in primary level education in Ireland
    (University College Cork, 2008-04) Finnerty, Michelle; Mercier, Mel
    This thesis explores the role of music education in primary level education in Ireland. Since the introduction of the New Revised Music Curriculum in 1999 there has been an increase in the profile of music education at primary level. Principals and teachers have become more aware of the importance of enhancing the provision of and access to music education in schools and creating equal opportunities for children to participate in music. The renewed interest in providing access to music education at primary level has also led to a number of extra-curricular developments. Arts organizations, local community groups, music teachers, and musicians have become more involved in music education programs through various extra-curricular projects and initiatives. This study focuses on the classroom as the locus of the schooling system. It focuses on fieldwork conducted in two primary level schools in Cork. By entering the environment of the classroom, the research presents an understanding of the role of music at primary level and it highlights how music is ‘unique’ in the way it makes connections between the classroom, the school community and the wider community outside of the schools. This investigation of the primary school system argues that there are two approaches to the provision of music education at primary level in Ireland: the formal curricular based teaching, implemented by the classroom teacher, and the informal, extra-curricular work, involving the classroom teacher and various members of the school community and the wider community. It reveals that there are three main agents involved in the co-ordination of music at primary level: the classroom teacher, the music curriculum co-ordinator and the music specialist. Through observations and discussions with the people at the centre of the classroom, this research provides an understanding of the ways in which music education can be provided and how connections between school and community can be strengthened.
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    Eispéireas mná: an cleachtas cruthaitheach sa damhsa ar an sean-nós
    (University College Cork, 2021-09-30) Ní Chuirrín, Nada; Gilson, Jools; Finnerty, Michelle; Ni Shíocháin, Tríona; University College Cork
    Déanann an togra taighde seo cíoradh ar chleachtais an damhsa ar an sean-nós le béim ar leith ar an eispéireas baineann laistigh den traidisiún. Chun dul i ngleic leis an gcultúr teangeolaíoch a bhaineann leis an traidisiún Gaeltachta seo agus chun doiciméadú a dhéanamh ar shaintearmaíocht a bhaineann leis an gcultúr damhsa seo, shocraigh mé ar an taighde seo a dhéanamh trí mheán na Gaeilge. Is ar an damhsóir mná a dhíreoidh an taighde seo go príomha. Scrúdóidh an taighde seo m’eispéireas féin mar dhamhsóir a oileadh sa traidisiún beo i nGaeltacht Chonamara agus mar bhean taobh istigh de traidisiún an damhsa ar an sean-nós. Anuas air sin, déanfaidh an taighde seo anailís ar an damhsa ar an sean-nós bunaithe ar an bhféinmhachnamh chomh maith le anailís chomparáideach bunaithe ar agallamh le damhsóir iomráiteach mná ón gceantar. Labhróidh mé mar gheall ar an teoiric bhéil agus an damhsa ar an sean-nós, agus déanfaidh mé iniúchadh trí mheán an chleachtais chruthaithigh féin ar ghnéithe ar leith de shaothar Lord (1960) a d'fhéadfadh cur lenár dtuiscint ar phóiseas cruthaitheach an damhsa. Breathnóidh mé ar an saibhreas a bhaineann le heolas inchollaithe agus ar an tábhacht a bhaineann leis don damhsa ar an sean-nós. Ina theannta sin, lábhróidh mé mar gheall ar mhodhanna teagaisc agus foghlama i dtraidisiún an damhsa ar an sean-nós agus ar an gcaoi a bhfuil sé difriúil ón bhfoghlaim struchtúrtha fhoirmeálta.
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    Teachers’ perspectives of the role of music and creativity in music teaching and learning in the Irish primary level classroom: exploring policy, curriculum and practice
    (University College Cork, 2021-12) Hogan, Grace; Finnerty, Michelle; Irish National Teachers' Organisation
    This dissertation explores the current status of musical creativity in primary level music education in Ireland. It focusses on the meaning and purpose of creativity at primary level, and analyses the positive impact of creativity through music, while also highlighting the meaningful benefits that transcend the boundaries of music education, and enrich the holistic development and learning experience for children in the primary level classroom (DiDomenico, 2017). This thesis explores the efficacy of the current music education model at primary level from the teachers’ perspectives, reflecting upon the history of music education within government policy, education curricula, and in wider society in Ireland throughout the twentieth and twenty-first century, to inform how this has impacted upon the current position of music in education at primary level today. Adopting an ethnographic approach, this dissertation analyses the views and perceptions of teachers surrounding music and creativity in the classroom, through the perspectives of six generalist primary level teachers and two secondary level music teachers. Using the mindset expressed at interview as the channel for further exploration, this thesis highlights five core themes from interview. It examines these five themes, and considers the benefits and challenges associated with music education for the generalist primary level teacher, and explores connection and continuity moving to secondary level music education. It discusses the barriers to developing effective learning environments in music education as expressed by teachers, while seeking to clarify if there is a disconnect between policy and practice. Using the revision of the 1999 Primary Level Music Curriculum as a stimulus, this thesis examines recent developments relating to the role of music at primary level, and explores how these developments have greatly enhanced the music education experience. It examines the position of creative practice in education curricula at both primary and secondary level. Creative practice in music education refers to the exploration of creativity through music, and the facilitation of creative music making opportunities in the classroom. This thesis focusses specifically on creativity within music education policy, discussing how this aspect of the curriculum has progressed, from the publication of the Education Charter (2012), to the development of Creative Ireland, and the release of the new Junior Cycle Music Curriculum (2017). These creative experiences are explored and discussed, to emphasize why creativity should be an integral part of the music education curriculum at primary level. Through analysis of research and best practice, this thesis presents considerations for the development of music education for generalist primary level teachers, to ensure that all primary level teachers can facilitate children with opportunities to access the exciting world of musical creativity.
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    Karaikudi vina tradition: a comparative study
    (University College Cork, 2021-12-22) Thevapalan, Thenuga; Boyle, Kelly; Stock, Jonathan
    This research study aims to explore and bring to light the stylistic elements of the Kāraikuḍi vīṇā tradition, a Karṇātak vina tradition of South India, through a comparative performance study of the composition Sarasīruhāsana Priyē performed by four eminent vina players from this musical tradition: Karaikudi Sambasiva Iyer, Ranganayaki Rajagopalan, Rajeswari Padmanabhan, and Karaikudi Subramanian. In order to understand the individuality of two musical traditions that belong to the same musical system, Karnatak music, but to different traditions within that, a study of individual performances by Karaikudi Sambasiva Iyer and violinist Lalgudi Jayaraman from the Lālguḍi tradition, a violin tradition, form part of a second performance analysis. Śaṅkari Nīve is the chosen Karnatak composition for this analysis. This study takes inspiration from my own position as a disciple in the Karaikudi tradition for the last five years, learning vina from Karaikudi Subramanian. My own situatedness relative to the music has proven particularly useful in exploring these ideas. Apart from the performance aspect, I approach the study by placing a lens on my own experiences and musical pathways through ethnomusicological work with focussed attention on the topic of ‘insider- and outsidership’ that has been the basis for substantial discussion in the field of ethnomusicology for many decades. Furthermore, I have used an autoethnographic approach as means to discover more about the nature of tradition and my own lived experience as a way of attaining insight. I have drawn on different scholars in order to formulate a specific approach, informed by current discussions and thinking. Lastly, biographical accounts, historical discourses, and musical transcription have also formed basis to answer my questions concerning the Karaikudi tradition.