Autism Spectrum Disorder (ASD), or autism, refers to a group of neurological disorders. At the most recent estimate, the Center for Disease Control estimated that 1 child in 68 has an autism diagnosis. Though research has shown music to be an effective intervention in therapy settings for students with ASD, little research has been done with respect to inclusion in instrumental classroom settings. The present study sought to examine string teachers’ perceptions of inclusion of students with ASD in classroom settings. Fifty-one classroom string and orchestra teachers served as participants for this study. This study was conducted in two phases. Phase I consisted of a survey where teachers were asked to respond to statements using a 5-point Likert-type scale. Phase II consisted of e-mail based interviews of small portion (n = 11) self-selected participants. Results of this study revealed that many string teachers responded with overall positive perceptions of inclusion of students with ASD. Results also revealed that there appeared to be no significant relationship between years of experience and perceptions of successful inclusion, and no significant relationship between level of education and perceptions of successful inclusion. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / May 3, 2017. / autism, inclusion, string education / Includes bibliographical references. / Katarzyna Bugaj, Professor Co-Directing Dissertation; Clifford Madsen, Professor Co-Directing Dissertation; Alexander Jiménez, University Representative; Kimberly VanWeelden, Committee Member.

In its over seventy-year history, the Florida State University Choral Department has provided choral performances for audiences across the United States and around the world, as well as the opportunity for a music education. The present study aims to create a narrative of the history and development of the FSU choral department through comprehensive investigation and research. This study identifies 1) the individuals, institutions, and events that led to the formation of the FSU choral department, 2) the philosophy and purpose of the FSU choral department, 3) the contributors to the development and establishment of this purpose and philosophy, 4) the conductors of the ensembles in the department and the directors of the department, and 5) the body of literature performed by the major ensembles of the department from 1947 – 2000. The study concludes that the FSU choral department evolved into a comprehensive organization, which maintained a commitment to excellence in musical performance, academia, and teacher training. Through its conductors and its collaboration with professional musicians and organizations, it proliferated its own reputation and influence throughout the United States and beyond. By establishing and expanding a comprehensive graduate program, the department created one of the largest professional networks of graduates in the profession. The department established itself as a flagship organization within Florida State University, and consistently garnered the support of the university leadership, local community, and government, becoming an ambassador for higher education and excellence in the performing arts. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / June 19, 2017. / Amon, Choral, Department, Eady, Florida, State / Includes bibliographical references. / André Thomas, Professor Directing Dissertation; Michelle Stebleton, University Representative; Judy Bowers, Committee Member; Kevin Fenton, Committee Member.

The vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970’s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970’s, vocal jazz ensemble education had become so prevalent in the Boise Valley region that the Jr. High School directors of the Boise Public School District were programming vocal jazz music and participating in many of the same vocal jazz events as their high school colleagues. These Junior High school directors included Bruce Walker, Catherine Gilck, Rich Lapp, Sue Hough, Paul Olson and Rob Newburn. The 1980’s saw the second generation of prominent vocal jazz singing ensemble directors begin their tenures in the Boise Valley when Glenn Grant, Quinn, Van Paepeghem, Linda Schmidt, Ted Totorica, and Barb Oldenburg, continued the tradition of vocal jazz style singing and event participation that their predecessors had initiated throughout the remainder of the era investigated (inception-1990). In the study, each subject's experiences and education in vocal jazz ensemble singing is documented and specific techniques they employed when working with their vocal jazz ensembles are revealed. The literature used by each vocal jazz educator from the Boise valley (1970-1990) is also exposed, collated, and presented in the document for reference and use by future choral music educators. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / July 6, 2017. / Boise, Education, history, Idaho, Jazz, Vocal / Includes bibliographical references. / Kevin Fenton, Professor Directing Dissertation; Christopher Moore, University Representative; Kimberly Van Weelden, Committee Member; Andre J. Thomas, Committee Member.

Despite repeated calls for diversification throughout history, American music education has largely remained unchanged since the early 1800s. Previous research has supported the inclusion of non-traditional music courses in the secondary school music curriculum, however, few researchers have systematically investigated the current state of non-traditional music course offerings in the country. Therefore, the purpose of this study was to determine the non-traditional music courses currently offered in secondary schools. A secondary purpose was to investigate how the teachers of non-traditional music courses acquired the knowledge and skills to teach these courses. Participants (N = 99) were secondary music teachers from Alabama, Florida, and Georgia who taught at least one non-traditional music course during the 2016-2017 school year. All participants were asked to complete an online questionnaire. The dependent measure consisted of eight questions regarding participants’ experiences with non-traditional music courses and allowed participants to indicate whether or not they would be willing to be contacted for follow up questions. The results of the study revealed that although several non-traditional music courses are currently being offered in secondary school music programs, more are needed. Participants also reported that the majority of their non-traditional music courses had been offered for 10 years or fewer, and that they had either inherited the course from a previous teacher or that the courses were initiated to augment the existing music curriculum. Additionally, participants reported that the majority of students enrolled in their non-traditional music courses were not concurrently enrolled in a traditional music course and that they were trained to teach these courses by researching on subject themselves, or by collegiate music education courses. Finally, qualitative analysis found that participants saw both benefits and challenges within non-traditional music courses. Common benefits reported by participants included the ability to reach non-traditional music students, the ability to further engage traditional music students, and to provide an alternative and creative venue for students to experience music. The most frequently reported challenges by participants included a lack of training for non-traditional music courses as well as a lack of funding. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Summer Semester 2017. / May 3, 2017. / Music, Music education, Non-traditional, Non-traditional courses, Non-traditional music / Includes bibliographical references. / Steven N. Kelly, Professor Directing Dissertation; Christopher Moore, University Representative; Alice-Ann Darrow, Committee Member; Patrick Dunnigan, Committee Member; Kimberly VanWeelden, Committee Member.

Leonard B. Meyer proposed unique metaphysical constructs of the aesthetic experience in music in his 1956 book Emotion and Meaning in Music. These constructs posited a causal nexus for affective response to music based upon the absolute-expressionist viewpoint that structural variations in a work of music give rise to human affect. The primary hierarchical constituents of Meyer’s theory include his inhibition thesis, deviation thesis, and violation of the Gestalt principles of continuity, closure, and shape. The study of Madsen, Brittin, and Capparella-Sheldon (1993) was part of a series of studies that examined the aesthetic experience in music according to continuously measured affective response. Participants recorded affective response via Continuous Response Digital Interface (CRDI) while listening to Act I of Giacomo Puccini’s La Bohéme. The purpose of this study was to analyze the Puccini according to the constructs of Meyer, and then compare those results to the “aesthetic footprint” generated by the empirical study. Results indicated a correlation between affective response and delays or violations of continuity, closure, and shape. A case is presented for the validity of Meyer’s constructs. Additionally, future research and applications to teaching expressivity are discussed. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / April 19, 2018. / Affective response, Entropy, Expressivity, Gestalt, Leonard Meyer, Tension / Includes bibliographical references. / Clifford Madsen, Professor Directing Dissertation; Bruce Holzman, University Representative; Katarzyna Bugaj, Committee Member; John Geringer, Committee Member; William Fredrickson, Committee Member.

The purpose of this study was to use the Psycho-Geometrics™ tool to measure the personality and behavior traits of instrumentalists in the traditional concert band setting in an effort to create a behavior profile for players of each instrument. The specific research questions for this study are as follows: (1) What trait statements within the categories of personality, behaviors, and relating to others are unique to instrumentalists overall? (2) What trait statements within the categories of personality, behavior, and relating to others are unique to each instrument in the concert band? (3) What trait statements within the categories of personality, behavior, and relating to others are unique to first chair players? (4) What trait statements within the categories of personality, behavior, and relating to others are unique to eighth grade, high school, and college students? The participants (N = 260) for this study were wind and percussion instrumentalists from various states across the southern United States. Ages of the participants ranged from eighth grade through graduate level study. Results found that overall the sample saw themselves as dependable, hard workers, and loyal friends. Results from the individual instruments revealed personality and behavioral differences amongst each instrument type. Results from the grade levels revealed differences that were consistent with developmental traits that were appropriate for each age group. The knowledge of the personalities and behaviors of students within an ensemble could help foster stronger student/teacher relationships which, in turn, could lead to stronger acquisition of subject matter, more meaningful musical performances, and create lasting memories for students to carry with them beyond their formal education. A more detailed listing of results is located within the paper. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education. / Spring Semester 2018. / March 20, 2018. / Band Personalities, Concert Band, Instrumental Personality Types, Psycho-Geometrics / Includes bibliographical references. / Kimberly VanWeelden, Professor Directing Thesis; Steve Kelly, Committee Member; William Fredrickson, Committee Member.

The purpose of this study was to examine the literature being performed by Florida middle school, junior/senior high school, and high school jazz bands at Florida Bandmasters Association (FBA) District Jazz Band Music Performance Assessments (MPAs) from 2012-2017. More specifically, this study sought to address: (1) What pieces were played at FBA District Jazz Band MPAs between 2012-2017? (2) What composers were played most frequently at FBA District Jazz Band MPAs between 2012-2017? (3) What arrangers were played most frequently FBA District Jazz Band MPAs between 2012-2017? (4) What percentage of secondary schools in the state of Florida with an FBA classification attended FBA District Jazz Band MPA between the years 2012-2017 and how many ensembles performed each year? and (5) What ratings were earned at FBA District Jazz Band MPAs between 2012-2017? Data from this study came from a pool of pieces performed by middle school, junior/senior high school, and high school bands at FBA District Jazz Band MPA between 2012-2017 (N = 6,076). Due to one of this study’s purposes being to analyze the average ratings that were earned, groups with the classification of “Comments Only” or DNA (Did Not Appear) were not included in this study. Additionally, data from directors who did not enter all of the necessary title and composer information for their program or who left their pieces listed as ‘TBA’ were not included in this study. Of the 6,076 pieces in the pool, 5,664 pieces were able to be used in the literature analysis in this study. The researcher used the FBA website (Florida Bandmasters Association, 2018) to look up concert programs from FBA District Jazz Band MPAs from 2012-2017 from all of the 21 districts in the state of Florida. The following information, found in the concert programs, was entered into the data collection sheet: name of piece, composer, arranger, performing school, performing school’s classification, and the overall rating earned by the performing ensemble. Of the 5,664 pieces performed at FBA District Jazz Band MPA between 2012-2017, there were 1,816 unique compositions played. The compositions of 619 different composers and 249 different arrangers were performed at FBA District Jazz Band MPA. Additionally, 47.78% of schools involved in FBA brought at least one jazz band to perform at FBA District Jazz Band MPA between 2012-2017 and the number of pieces performed and bands that performed at FBA District Jazz Band MPAs increased every year during the five-year span of data analyzed. The vast majority of bands that performed at these FBA District Jazz Band MPAs (93.77%) earned the two highest ratings, Superior or Excellent. Additionally, there were no bands that received the lowest two ratings, Fair or Poor. Overall, findings from this study suggest that secondary school jazz bands in the state of Florida are growing in popularity. Additionally, many of the jazz ensembles performed what are frequently considered jazz standards and works by well-known jazz composers. However, due to the presence of multiple composers knowing for their concert band compositions for younger developing bands at the top of the frequently performed list, it seems that more quality jazz literature and arrangements may be needed for younger, developing bands. Further results and implications are discussed within the paper. / A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Education. / Spring Semester 2018. / March 28, 2018. / Assessment, Jazz Literature, Music Performance / Includes bibliographical references. / Steven N. Kelly, Professor Directing Thesis; Kimberly VanWeelden, Committee Member; Alice Ann Darrow, Committee Member.

The Pesta Paduan Suara Gerejawi (PESPARAWI), an Indonesian Christian choral festival or its predecessor the Pesta Paduan Suara Gerejani (PESPARANI), has become a nationwide celebratory event in Indonesia and has helped Indonesian government create national stability by preserving Indonesian cultures and bringing unity. This study documents the history of PESPARAWI by exploring the following: 1) the events and institutions preceding the establishment of PESPARAWI; 2) the purpose and philosophy of the PESPARAWI; 3) contribution of Indonesian composers; and 4) a list of repertoires performed at PESPARAWI from 1983 to 2015. The national tragic event (G30 S/PKI) in 1965, had brought Indonesia to a troublesome situation. More than millions of lives were killed because of political uprising and instability to maintain its independence. The Indonesian government responded to the tragedy by supporting several religious social activities that focused on building trust, creating unity, and enhancing moral standards in Indonesia. One such religious social activity was the festival PESPARAWI, which became nationwide in 1983. Originally, the festival was for adult choirs, but the festival has grown to include 12 categories. As a result, the festival has influenced choral literature internationally. Through PESPARAWI, Indonesian people maintained the Unity in Diversity (Bhinneka Tunggal Ika), and thereof PESPARAWI can be an example of national unification efforts through choral music. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / April 16, 2018. / Bhinneka tunggal Ika, Choir Music, Henry Pranoto, Indonesia, Pesparawi, Unity in Diversity / Includes bibliographical references. / Kevin Fenton, Professor Directing Dissertation; Frank Gunderson, University Representative; Andre Thomas, Committee Member; Kimberly VanWeelden, Committee Member.

The history of the Ithaca College Choral Program spans the history of the college itself. It formed in the late 1890s, briefly associating with the Westminster Choir College in the 1920s and 30s, and finally experienced continuous growth during the tenures of Lawrence Doebler and Janet Galván. This present study will document the history of the Ithaca College Choral Program focusing on (1) the early choirs and the development of the choral department, (2) the directors of the choirs, (3) the origin and history of the Choral Composition Festival and Choir tour, (4) the repertoire of the choirs, (5) and the program under the tenures of Lawrence Doebler and Janet Galván. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2018. / February 6, 2018. / Includes bibliographical references. / Kevin Fenton, Professor Directing Dissertation; Christopher Moore, University Representative; André Thomas, Committee Member; Judy Bowers, Committee Member.

The daily production of overtones is not typically thought of as an elementary exercise for young saxophonists; in fact, the subject of overtones does not appear in most widely used method books designed for children. There are however a handful of books that have been written to help facilitate the student with playing in the altissimo range, and these books do in fact discuss overtones. However, these methods are aimed at the advanced player, not the young child, this is clear in the language that is used. Many collegiate saxophonists will be familiar with a few of these texts; Top Tones (S. Raschèr), Saxophone High Tones (E. Rousseau), and Voicing (D. Sinta). It is true that 80 years ago the altissimo register was thought of by most saxophonists to be an extended technique, but today the idea of playing high on saxophone is generally accepted if not unavoidable. Why is it that 80 years after the composition of some of the saxophone's most notable masterworks such as the concerti by Glazunov and Ibert, works that require 3 and a half to 4 octaves, does one still encounter students of various ages and ability opting to take certain passages down the octave? The student is not to blame here, the underlying issue is one of pedagogy. While saxophonists have come to terms with the altissimo range and its practicality, educators have still not reevaluated the way in which the student is prepared for this particular challenge. Perhaps when this situation is viewed under the gaze of Anthroposophy, educators might glean insight into the importance of early overtone study. This treatise will examine some of the core principles that form the pedagogical philosophy of Waldorf Education as prescribed by the Austrian-born scientific, literary and philosophical scholar Rudolf Steiner as well as their application to modern day saxophone pedagogy. / A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. / Fall Semester 2018. / November 13, 2018. / anthroposophy, overtones, rascher, saxophone, steiner / Includes bibliographical references. / Patrick J. Meighan, Professor Directing Treatise; Clifton Callender, University Representative; Deborah Bish, Committee Member; Jeffrey Keesecker, Committee Member.