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TITLE
DECLARATION
CERTIFICATE
ACKNOWLEDGEMENT
CONTENTS
LIST OF TABLES & FIGURES
I INTRODUCTION
OVERTURE
SIGNIFICANCE OF THE STUDY
STATEMENT OF THE PROBLEM
DEFINITION AND EXPLANATION OF KEY TERMS
OBJECTIVES
RESEARCH QUESTIONS
HYPOTHESES
SCOPE AND LIMITATIONS
METHODOLOGY IN BRIEF
STRUCTURE OF THE PRESENTATION
II REVIEW OF RELATED STUDIES
A. INDIAN STUDIES
B. DOCUMENTATION FROM PROGRESSIVE SYSTEMS
C. STUDIES EXTRACTED FROM OTHER THEMATIC PRESENTATIONS
D. STUDIES EXTRACTED FROM STANLEY HALL
III METHODOLOGY
A. A PREAMBLE ON METHOD AND METHODOLOGY
B. A THEORETICAL STATEMENT OF QUALITATIVE METHODOLOGY
Summary Statements from Fraenkel and Wallen
Summing up from Erlandson
Critique of Paradigms and Conceptualisations from Scott and Usher (ed)
C. CLARIFICATION / FOCUSING OF BASIC CONCEPTS IN QUALITATIVE RESEARCH.
D. A BRIEF STATEMENT OF THE METHODS COMMONLY USED IN EDUCATIONAL RESEARCH
E. THE METHODS ADOPTED IN THIS INVESTIGATION
Some Heterodox Approaches even within conventional Methodology
Construct-making itself as a method:
Multiple Working Hypotheses
Strong Inference
IV BASIC CONCEPTUALISATIONS AND STRUCTURES IN MUSIC: WESTERN AND INDIAN.
PREAMBLE
How music emerges in life
Song, Dance and March
Musical Texture
Harmony: Musical Space
Dynamics: Musical volume
Melodics: scales and ragas
Table I Kata paya adi sankhya
Timbre: Musical Colour
Form: Musical Structure and Design
The Other Movements
Musical Genres
The Oratorio
Musical Genres in Indian Music
Kirtanas and other simple devotional forms
Decorative Angas
Rhythm, Meter and Tempo
The South lndian t
Table 2 Tal matra: Numeric Distribution
Graha or eduppu
Some North lndian Styles and Forms
Pedagogic Steps in Presenting and Rotating the 72 South lndian Melas:
Table 3 The Distance between Swaras in South Indian Melakarta System
Table 4 The Tetrachord forms for Chakras and Raga Numbers within Chakra
Table 5 Table of Ragas with symmetrical Tetra chords
V ANIMATORS MODELS FROM ANALYSIS OF MUSIC INTERSECTING OTHER DISCIPLINES AND SITUATIONS
1. MODELS FROM MUSIC AND RHYTHM
(a) General
(b) Animation as an intrinsic value
(c) Triggering peak experiences
(d) Animation through creative movement education
(e) Invitation to inner animation - intellectual and spiritual
(f) Classificatiorn and Progression of Rhythms
(g) Models from analysis of tala
2. ANALOGICAL MODELS FROM OTHER COMPONENTS OF MUSIC
3. MUSICAL RHYTHM: POETIC METER: MATHEMATICS CONVERGENCES
(a) Elementary Arithmetic on Childrerls Rhythm
(b) Rhythms that can help to introduce a Ten-base Sense
(c) Rhythms in Mappilla pattu
(d) Transition to Higher Levels: Applying Rhythmic Maths in Prosody
4. CREATIVITY IN SPECIAL FORMS IN MUSIC AND MOVEMENT
(a) Creativity through Movement, Rhythm and other Dimensions of Music
(b) Musical Eureka: Received Creativity
(c) Terza Suono: Creation contributed by piano in the inner ear
5. ANIMATION OF DIFFERENT SUBJECTS THROUGH MUSIC
(a) Animation of English 8 Hindi Poetry
(b) Physics-Music Interface
(c) From Physics to other studies
(d) Musical Models for Social Studies
6. MUSIC AS SPEECH
Table 6 Tabla positions and Phonetic Sounds
7. MUSIC AND POE TRY
8. MUSICAL MODELS OF LESSON PLAN AND CURRICULAR DESIGN
(a) Sonata Model for Wasteland
(b) Polyphony, Canon, Counterpoint, and Fugue
(c) South Indian Musical Forms
9. THE-DIALECTIC OF THE GROUP AND INDIVIDUAL
10. FOLK AND ELITE IN MUSIC AND EDUCATION
(a) General
(b) Travelling Folk Musicians and Popularisers
11. MUSIC FOR NATIONAL INTEGRATION AND INTERNATIONAL UNDERSTANDING
(a) The Use of National Songs in Education
(b) Music for International Understanding
(c) Encounter of the East and West
12. INSPIRATIONS AND INSIGHTS OF GREAT MUSICIANS.
13. MODELS FROM SCHOOLS OF MUSlClSlNGlNG SCHOOLS.
VI EMPIRICAL AND LOGICAL TESTING OF HYPOTHESES AND MODELS
PREAMBLE
A. FINDINGS FOLLOWING LEVEL I QUESTIONS AND HYPOTHESES
The Climate in the Typical School in Kerala
The Place of Music in School
Sensitivity to the dull Routine Nature of the School
Incorporation of Dimensions of Animation by the System itself
The Responses of Teachers, Parents, Children
Prevalence of Deeper Levels of Animation and Sensitivity to i t
Gaps in the Design of Animation
B. SURVEY RESULTS BASED ON RESPONSES OF EXPERTS: MUSIC IN SCHOOLS: WHAT IS AND WHAT CAN BE
Table 7 Weighted mean scores of Experts (N=100) on the Place of Music in Schools
Table 8 Opinion Scores (Weighted Mean Scores) of Experts (N=100) on what can be done and what should be done with reference to music education in schools
C. MODELS AND THEIR TESTING: (LEVEL 11 QUESTION & HYPOTHESIS)
1. Models from Music and Rhythm
2. Analogical Models from Other Components of Music
3. Musical Rhythm: Poetic Meter: Mathematics Convergences
4. Creativity in Special forms in Music and Movement
5. Animation in different subjects
6. Music as speech
7. Music and Poetry
8. Musical Models of Lesson Planning
9. The Dialectic of the Group and the Individual
10. The Folk and Elite in Education
11. National Integration and International Understanding
12. Innovations Inspired by Great Musicians and Music Schools
VII THE QUEST FOR MEANING IN MUSIC: SYNTHETIC MODELS BEYOND SURFACE ANIMATION
A. MUSIC AND MEANING
B. MUSIC. MEANING AND CULTURAL THEORY
Fig. 1 Circuit of Homology
Fig. 2 Circle of Homology
C. POLYAISTHESIS AS A MODEL PROVIDING A SYNTHETIC FRAME
D. PARALLEL VISIONS IN SPACE. TIME AND LIGHT
CODA
BIBLIOGRAPHY
A. BOOKS AND JOURNALS
B. STUDIES REFERRED IN CHAPTER I1
APPENDIX
APPENDIX I T.S. Eliot: THE WASTE LAND (GRACE INFOTECH: Literary club: analysis)
APPENDIX II MAHATMA GANDHI UNIVERSITY: SCHOOL OF PEDAGOGICAL SCIENCES
PART A: JUDGEMENT ON FACTUAL STATEMENTS
PART B: OPINION ITEMS
SONIC SADDLE