Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Donald A. Hodges; submitted to the School of Music. Includes bibliographical references (p. 69-74).

Thesis (Ph. D.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 161-162).

This mixed methods study examines the lived experiences of six female high school band directors in the state of Florida as they related to the perceptions of the professional band association membership. This research focuses on how women and men perceive their experiences in relation to gender roles and gender-stereotyping in the traditionally masculine field of secondary instrumental music. A quantitative survey was distributed to the professional band association membership and 99 responses were recorded. Participants answered questions regarding years of teaching experience, grade levels taught, primary instrument, and their thoughts on the impact of gender on several aspects of instrumental music education. The survey results revealed that women feel strongly about the impact that gender has on instrument selection, performance opportunities, and job opportunities while men remain largely neutral. Out of the 99 responses, 6 participants that met the criteria for the qualitative interview portion of the study were contacted to arrange interviews / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

Thesis (Ph.D.)--Kent State University, 2008. / Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Jay Dorfman. Keywords: Assessment; instrumental music. Includes bibliographical references (p. 103-112).

Thesis (Ph. D.)--University of Florida, 2007. / Title from title page of source document. Document formatted into pages; contains 119 pages. Includes vita. Includes bibliographical references.

Thesis (Ph.D.)--Kent State University, 2007. / Title from PDF t.p. (viewed Mar. 31, 2008). Advisor: Linda B. Walker. Keywords: music, hearing, band directors, teachers, audiology, spl, musicians. Includes survery instrument. Includes bibliographical references (p. 171-182).

Thesis (Ph. D.)--University of North Texas, 2008. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 267-278).

Thesis (M.M.)--Bowling Green State University, 2010. / Document formatted into pages; contains vi, 112 p. Includes bibliographical references.

The purpose of this study was to: (a) investigate through exploration and inquiry, (b) trace by way of chronology, and (c) report in detail by means of descriptive commentary the history of the New York State Band Directors Association (NYSBDA) from its organization in 1980, up to and including the 30th anniversary of the Annual Symposium in March of 2011. After meticulous analysis of reports, documents and proceedings of the New York State Band Directors Association and organizing the information contained in these sources, the author has articulated in writing the major activities and labors of the organization. The author initiated the study by securing official permission from the 2010-2011 Executive Board of the New York State Band Directors Association. The author then followed the procedure of collecting data by contacting relevant personalities of the Association and requested that: (a) Association documents, (b) meeting minutes, (c) programs, (d) records, and (e) correspondence be transferred for evaluation. By means of thorough review and categorizing of materials a timeline of relevant events that described the formation and advancement of the Association was created. The New York State Band Directors Association was formed to satisfy a specific need for professional growth and support for instrumental music professionals working at all academic levels, public, private and community in New York State. The origin of the Association was in direct relation to the success of a weekend symposium in 1977 designed expressly for band directors. The NYSBDA grew from a small ‘steering committee’ under the leadership of Richard Snook. The group stated its primary purpose to be the improvement and promotion of instrumental music in New York State. Throughout its history, NYSBDA has provided assistance to instrumental music educators and band directors through its many initiatives. NYSBDA provides and exhibits: (a) professional growth opportunities by means of its annual symposium and regional workshops, (b) performance opportunities for instrumental ensembles, (c) potential for student participation in NYSBDA statewide honor bands, (d) instrumental teacher and professional recognition by means of awards, (e) the promotion of new literature by sponsoring and commissioning new band compositions, and (f) cooperation with other state associations. The Executive board and Membership of NYSBDA have demonstrated a commitment to the advancement and improvement of instrumental music and its professionals. This is in agreement and fulfillment with its stated Constitutional objectives. / School of Music

The purposes of this descriptive survey research study were (a) to describe novice band directors' perceptions of the importance of skills/knowledge used n effective music teaching, (b) to describe novice band directors' perception of the difficulty of acquiring each skill or knowledge component, (c) to compare novice band directors' perceptions of the importance and difficulty of the skills/knowledge used in their classrooms, (d) to describe ways that novice band directors perceived university coursework as helpful in acquiring teaching skills/knowledge, and (e) to describe improvements to university coursework that novice band directors perceived could help future band directors. The personal skills/knowledge category (M = 4.64) was rated highest for importance, followed by the teaching (M = 4.60) and musical (M = 4.29) categories. Additionally, participants rated the personal skills/knowledge category (M = 3.57) as the easiest to acquire, followed by musical (M = 3.14), and teaching (M = 3.09) categories. There was a statistically significant difference between teaching importance ratings and teaching acquisition ratings, with the teaching importance category rated higher by participants. Participants perceived secondary instrument instruction, teaching experiences, core music curriculum, and practical skills/knowledge as positive aspects of university coursework. Finally, secondary instrument instruction, field experiences, non-instructional aspects of teaching, and musical pedagogy were reported by participants as areas for possible improvement.