Master of Music / Department of Music, Theatre, and Dance / Frank C. Tracz / This report possesses a detailed analysis of three works, two works for concert band and one for brass ensemble. The works included in this report are Fanfare Héroïque (1944) by Eugéne Bozza, Symphonic Sketch (1994) by Charles Carter, and Tempered Steel 2nd ed. (1997 and 2008) by Charles Rochester Young. Also included in this report is performance information about the pieces above, the author’s thoughts about the role of music education in the American school system, and a section that discusses quality literature for concert ensembles. It is the author's hope that some of this information is used to aid teachers in their study of these works in order to be more effective in the classroom. In order to facilitate this, each analysis includes biographical information about the composer, historical information about the composition, technical information, musical information, an analysis of form, and sample lesson plans with reflections.

Master of Music / Department of Music / Frank Tracz / The following report contains the research and analysis of three musical compositions prepared for effective rehearsal and performance for the Graduate Conducting Recital. The repertoire selected includes Hats Off to Thee by John Zdechlik, performed by the Kansas State University Brass Ensemble on April 18th, 2012; Mercury Rising by Nathan Daughtrey, performed by the Kansas State University Percussion Ensemble on April 3rd, 2012 and Suite Française by Darius Milhaud, performed by the Kansas State University Concert Band on April 25th, 2012 all under the direction of Sarah Bernard-Stevens. The report comprises extensive research and theoretical analysis compiled to effectively rehearse and conduct the above-mentioned works.

In 1988 Bernardo Adam Ferrero's wind band composition Homenaje a Joaquín Sorolla was premiered at the International Wind Band Contest in Valencia, Spain. This relatively unknown wind band composition combines the elements of visual art and music to create a contemporary work for wind band using oil-canvas paintings of Valencian artist Joaquín Sorolla as the source of inspiration. In this document, the author discusses pertinent biographical information about the composer and the artist, and examines the wind band composition and the paintings through musical and visual analysis to evaluate Ferrero's musical interpretation of programmatic themes of the paintings. Through analysis of the craftsmanship of this composition and its connection to the visual arts, the author advocates for Homenaje a Joaquín Sorolla’s inclusion in the core wind band repertoire.

Thesis (M.Phil.)--Chinese University of Hong Kong. / Bibliography: leaves 85-86.

Performance of repertoire is a defining curricular aspect in the band area of music education, upon which students will spend significant time. The act of repertoire selection is a potentially complicated one, carrying the norms, values, and beliefs of the overall band area and band directors themselves. A band director’s personal ensemble experience is steeped in aesthetic traditions and canonical notions of repertoire’s quality and its use in band settings, and these notions may be incompatible with highly varied teaching situations. In this study, I examine these issues using Bourdieu’s concepts of habitus and field. The research questions were: is there a tension between the established norms (habitus) regarding the repertoire used in public schools, and practicing band directors’ professional contextual realities? If so, what is the cause of the tension, what do band directors do in response to it, and is the experience or non-experience of tension manifested differently in distinct professional contextual realities? I used a multi-method design to answer the research questions, collecting survey and interview data. Survey participants were randomly sampled from across New York State. The interview participants were purposefully sampled for variation in teaching situations. The data revealed that a tension exists and is manifested in elemental/structural issues and differences in expressed musical/educational goals. Consistent themes were the influence of collegiate ensemble experiences as main drivers of the tension and a resulting expressed reverence for core repertoire, even though it might not be what participants program. These phenomena did not appear to manifest differently across varied contexts. In addressing the tension, participants expand their habitus to include other repertoire that is more suitable or appropriate for their own situations, regardless of normative notions of quality or core repertoire. Music educators may benefit from a reorientation in teacher education programs that acknowledges the potential for this tension and that prepare them to enter their professional contextual realities and evaluate and choose repertoire in a tension-free process. Such a process would be free from a “one size fits all” conceptualization of repertoire’s quality and its role in a band program. Keywords: band, repertoire selection, tension, Bourdieu, habitus, field, hermeneutic phenomenology.

abstract: ABSTRACT Wind band directors in the State of Arizona are required by the Arizona Band and Orchestra Directors Association (ABODA) to choose at least one music selection from the “State Lists of Required Compositions” of Florida, Texas, and/or Virginia for their ABODA scholastic concert band festival presentation and adjudication. The works could also be used for school performance. Additionally, the Arizona State Department of Education requires Certified Wind Band Teachers to use the Arizona Academic Standards in the Arts Music – Performing Ensembles (updated in 2015) as source material for the standard that should be met by the conclusion of the academic year. This research explores the educational and pedagogical correlations between the state standards and an annotated list of select Wind Ensemble repertoire. The Florida Bandmasters Association, Virginia Band and Orchestra Directors Association, and Texas’s University Interscholastic League’s lists of required compositions include thoughtfully selected titles that promote musical growth. A fourth list found in Richard Miles’ textbook series entitled Teaching Music Through Performance in Band (Volume 1-11) which promotes music education through rehearsal preparation and performance-based practices. This list will only include compositions that all four compilations selected. The list will convey the following information: 1. The average grade, title, composer and date of the composition 2. A brief program note about the composition 3. A description of each teaching standard covered by the selected repertoire Additionally, the author has decided to add some works to the list to ensure the inclusion of race and gender diversity. These additional works may one day make the state required performance lists as time allows the selection process to catch up with the volume of repertoire added. / Dissertation/Thesis / Doctoral Dissertation Music 2019

The purpose of this study was to examine student section leaders and their leadership practices in collegiate marching band organizations. Through the use of the Student Leadership Practices Inventory (SLPI), the study surveyed members and staff of five collegiate marching bands: band directors, assistant band directors, graduate teaching assistants, student leaders, and student followers (N=447). In addition to the SLPI, a Marching Band Leadership Practices Questionnaire was completed by the marching band directors to gain insight about each marching band organization used in this study and to determine whether the marching bands practiced distributed leadership. The SLPI assessment tool measured five leadership practices to identify exceptional student leaders through a 360-degree feedback survey process: Challenge the Process, Inspire a Shared Vision, Enable Others to Act, Model the Way, and Encourage the Heart. Increased understanding of student leaders and the five leadership practices in marching band could inform the organization's process of selecting leaders. Student follower evaluations indicated a significant difference among the five practices, showing that Enable Others to Act was the least effective practice and Model the Way was the most effective practice for student leaders. Independent Samples t-tests of Student Leader vs. Student Follower SLPI scores showed that student leaders often perceived themselves displaying higher levels of leadership practice than did their student followers. Results indicated a significant difference for student follower characteristics and perceptions of student leaders: gender, music major status, and years of participation in a collegiate marching band. Results from the Marching Band Leadership Practices Questionnaire indicated that the student leaders in all five universities interact together with other leaders in a marching band, which is an important feature of distributed leadership.

No description available.

The purpose of this study was to determine if there were an,y differences between what Utah high school band teachers perceive as important skills, activities, behaviors, knowledge, and concepts in the context of the rehearsal and their assessment of the degree to which these i terns ·were applied during the rehearsal period. A survey questionnaire listing twenty band rehearsal instructional items was used to obtain the data. Sixty-one percent of the sample responded to the survey. The sample included all high school band teachers in the state of Utah. A correlation coefficient was computed between respondent's ratings of the validity of the instructional item to the band rehearsal and the degree to which the respondents applied that item in their rehearsals. There was a positive correlation between these ratings for all twenty items. Some items, however, had a lower correlation coefficient than others showing a lesser degree of congruency between opinion of validity and application.

<p>This thesis was completed as a part of the project "Microwave wireless Communication </p><p>Link". In this thesis, the requirements to develop base band part for the transceiver were </p><p>studied, including, usage of proper hardware equipment as well as software </p><p>programming. A signal injector performed as a hardware interface between the Analog </p><p>part and the Digital (base band) part of the tranceiver, whereas, a PCI card acted as a data </p><p>acquisition device for base band part. A programming language was required to build </p><p>such a software, able to successfully represent a transmitter and a receiver. All the </p><p>features were found in Labview (Laboratory Virtual Instrument Engineering Workbench) </p><p>introduced by National Instruments in 1980s. A modern version of Labview i.e. version </p><p>7.1, was used in this thesis, it views the software as a virtual instrument to automate and </p><p>measure the values passed from the connected hardware. Labview provides a graphical </p><p>development environment, which is modular and parallel in nature, and uses an efficient </p><p>G compiler. A coherent base band receiver using matched filter was implemented, and a </p><p>base band transmitter using NRZ-L digital encoding scheme and QPSK modulation </p><p>scheme was developed.</p>