Thesis (Ph. D.)--Columbia University, 1931. / Vita. Published also without thesis note. "The orchestral score of Lincoln school symphony no. 3": p. 125-210. Bibliography: p. 218.

Thesis (Ph. D.)--Columbia University, 1931. / Vita. Published also without thesis note. "The orchestral score of Lincoln school symphony no. 3": p. 125-210. Bibliography: p. 218.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Unnumbered leaves following leaf 174, 176, 177 and 190. Typescript. Vita. Includes bibliographical references (leaves 241-256). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Unnumbered leaves following leaf 174, 176, 177 and 190. Typescript. Vita. Includes bibliographical references (leaves 241-256). Also available on the Internet.

It is the purpose of this thesis to present some of the material to be employed in the pedagogy of the woodwind instrument classes at the college level in order that this material may serve as a useful and beneficial guide for the students and teachers of the woodwind instrument classes. This study has been prepared in the belief that a most serious obstacle in the teaching of woodwind instrument classes is the lack of a comprehensive text dealing with the fundamentals underlying the selection of teaching materials to be used. In a large number of instances young teachers are confronted with the necessity of developing a woodwind department in their schools without having had any systematic preparation for the task. This thesis attempts to meet this need.

Many persons who major in music with the intention of teaching, either at the public school or college level, are poorly equipped to cope with every problem confronting them. With this in mind, the author has attempted to assemble as much valuable and helpful material as possible into a course of study.

Theoretical perspectives of feminist pedagogy provide an alternative lens to examine the teaching and learning process within music education programs in higher education. Music programs have traditionally emphasized formal constructions and static content, which typically are associated with Western European, patriarchal ideologies. Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. When examining the music education literature, particularly as it relates to diverse groups, a feminist instructional approach addresses the interconnections of race and gender as social and cultural constructions, which are almost absent from higher education research altogether. Using the intrinsic case study model and qualitative data, I examine ways feminist pedagogy and Black feminist pedagogy, are integrated into the undergraduate music program at Spelman College, a historically Black college for women. I also investigate how course curricula are inclusive of both traditional feminist and Black feminist pedagogical principles. I explore how discourses of gender, as well as race, play a role in the pedagogical practices of teachers within a single-sex institution committed to the education and empowerment of women of color. Furthermore, I describe ways in which students are influenced by both traditional feminist and Black feminist pedagogical approaches, and how music educators are fulfilling the need to teach music outside their own experiences, which are in some cases, a Western European patriarchal approach. Using Barbara Coeyman’s (1996) four principles of traditional feminist pedagogy for women’s studies in music and the general music major curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action), as a theoretical framework the following three components were examined in this study: context (structural influences of gender and race), content (curriculum and course design), and pedagogy (classroom instruction and goals). Data was ascertained through triangulated measures of interviews with faculty and students, observations of class time and performances, and document collection of relevant data sources (e.g., course syllabi, music department handbook, and performance programs). I used findings from the research to demonstrate how discourses of gender and race permeate the institutional environment at Spelman College, and have direct links to curricula structure, as well as the institutional mission of the teaching and learning process of its students. I also used findings to further enhance the knowledge base of music education literature and implications for African-American females in higher education. Finally, suggestions were given as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students.

Providing standards for music technology use in community college music programs presents both challenges and opportunities for educators in American higher education. A need exists to assess the current use of technology at the community college level for the purpose of improving instruction. Although limited research has been done on the use of technology to support music education K- 12 and in four-year universities, little research on the problem in the community college setting was found. This research employed a Delphi study, a method for the systematic solicitation and collection of professional judgments on a particular subject, to examine existing criteria, “best practices”, and standards, in an effort to develop a set of standards specifically for the community college level. All aspects of a complete music program were considered including: curriculum, staffing, equipment, materials/software, facilities and workforce competencies. The panel of experts, comprised of community college educators from throughout the nation, reached consensus on 50 of the 57 standards. Forty-one or 82%, were identified as minimal standards for the application of music technology in music education. Community college music educators, planning to successfully utilize music technology to improve teaching and learning should implement the 41 standards determined as minimal by the Delphi panel. As the use of music technology grows in our community college programs, the standards used to define the success of these programs will expand and mature through further research.

The purpose of this survey is to determine the educational and professional status of piano teachers in the colleges and universities of the United States. This survey will attempt to evaluate the musical and educational background as well as the professional status of people engaged actively in the teaching profession today.

This study analyzes the music departments of Kansas public community colleges (1) to ascertain whether those responsible for music curricula agree that general education is a priority, and (2) to evaluate how well Kansas community college music departments meet the needs of general education music students compared to the guidelines for general music education established by the National Association of Schools of Music and The College Music Society. The study addresses the broad issues related to music in general education: (1) academic music courses, (2) faculty assigned to teach these courses, and (3) performance opportunities for students other than music majors.This study presents data compiled from surveys mailed to community college music department spokespersons at each of the nineteen community colleges in the State of Kansas. Potential respondents were selected from the full-time music faculty list provided by the Kansas Association of Community Colleges. For purposes of this study, general education music courses are defined as academic courses, performing ensembles, and private study designed for students not majoring or minoring in music. Sixteen colleges responded, resulting in an eighty-four percent response rate.Kansas community college music department respondents prioritized music curricula functions as: (1) transfer of music majors/minors to four-year schools; (2) general education opportunities; (3) community service; (4) vocational training; and (5) remedial education. Although only three community colleges in Kansas report belonging to the National Association of Schools of Music, and in spite of the fact that a majority of institutions give highest priority to the major/minor transfer student, the state's community colleges' music curricula offered to the general-education student compare favorably to both NASM and CMS standards. / School of Music