From introduction: The decision to use the term "Wind Band" in connection with this work was made after much careful deliberation. The English word "Band" is derived from the French "bande" meaning a group of players. It was first applied in this context in England when the Twenty-four Violins at the Court of Charles II (in emulation of "Le Vingt-quatre Violons du Roi at the Court of Louis XIV of France) were known in England as "The King's Band "Band" is a title generally given at the present time to any of instrumentalists, and indeed, many of the World's most famous conductors have been known to refer to any large symphony orchestra as "The Band" and the dressing-room of every Symphony or Concert orchestra in the British Isles is invariably called "The Band-Room"

The purpose of this study was to determine changes necessary to cause Texas public school band programs to conform to a recommended standard.

The purpose of this thesis is to acquaint future band and orchestra directors with a successful, thoroughly "tried and tested" plan of building an instrumental program within the music department. This thesis presents the technique of instrumentating the senior high school band by planning an instrumental program from the first grade to the time the band student reaches the senior high school level.

The purpose of this study is to present, on the basis of the material obtained through survey methods previously indicated, a comprehensive picture of the small high school band library.

The purpose of the project was to determine if two Junior High band student trainees could accurately evaluate the performance of individual band students from a pre-selected method book. Band students would record specific musical exercises which were evaluated by two student trainees and the band director. The purpose of the project was to check the reliability between the student trainees and the director.

Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and coded in order to identify major themes and trends. Conclusions were verified through member checks, several types of triangulation and other qualitative analysis techniques. Trustworthiness was determined through an audit. Cognitively and physically, students had to accommodate musical techniques as these differed from those used in concert band. Some students were confused by the new seating arrangement and the playing of individualized parts. While some students could perform distinctly different swing and straight interpretations of the same song without external cues, others could only perform this task with external cues. Some changes in articulation were well within the students' capabilities while other techniques were more difficult to accommodate. Several students felt 'uptight' while they improvised alone in front of their peers, noting group improvisation and rhythmic embellishment of familiar tunes as being helpful in assuaging these feelings. Students recognized the environmental differences between concert band and jazz band, and reported more freedom of expression in jazz band. Particularly enjoying this freedom, the more willing improvisors banded together as a clique. The students' learning was viewed as being situated in the context of jazz band. 'Musical perturbation' and cognitive apprenticeship described students' physical and cognitive accommodation of the new context. The instructional strategies students found to be most helpful were student-centered and derived from cognitive behavior modification and scaffolding theory.

The purpose of the study was to investigate conflicts in the perceptions of band directors, band parents, band students, and selected school personnel regarding the role and scope of their respective band programs. The problems were to examine the relationships among these four groups in terms of selective perception, perceptual constancy, and polarization. Questionnaires were developed in order to survey the senior public high schools in Cedar Rapids, Iowa. In addition to demographic data, the questionnaires included perceptions about public performances, marching, concert, and jazz bands; contests and festivals; and other band related activities which might be desirable in a band program. The questionnaires concluded with opportunities for open-ended comments and suggestions about the survey instrument and the band program. Statistical computations included one-way analysis of variance, chi-square test, frequency counts, and cross-tabulations. Qualitative analyses and reports of interviews helped to clarify and interpret all statistical findings.

It is the purpose of this thesis to list and evaluate the published materials for junior high school band that the director may have a comprehensive knowledge of materials adapted to that level.

Within this document, the writer hopes to present a thorough study of the various methods and materials which are available for the beginning, intermediate, and advanced band classes of the Goose Creek Independent School District, Goose Creek, Texas, taking into consideration the organization of the school system as it exists at the present time.

The reasons given by thirty-three junior high school band directors for success and failure at the University Interscholastic League Concert/Sightreading Contest were studied using the methodology of Attribution Theory. All of the subjects attended the same contest and were members of a region which included urban and suburban schools. The subjects responded to a questionnaire which evaluated their attitudes towards the contest, allowed them to make judgments about other directors in hypothetical contest situations, and finally asked them to list the five most important reasons for their success or failure at the contest in an open-response format.