The purpose of this dissertation is to provide a summary of the life and achievements to date of Judith Lang Zaimont and to examine her repertoire for chorus which includes an oratorio, cantatas, music for children, and secular octavos. / Chapter 1 introduces the composer and discusses briefly the need for continued research in the area of women in music. / Chapter 2 provides a biographical sketch of Zaimont, enumerating the composer's many awards and activities. / Chapter 3 discusses Zaimont as composer and champion of women musicians. Following a brief description of the composer's compositional style and work as an editor, is the text of a portion of an interview between the author and Mrs. Zaimont. / The examination of the choral compositions incorporates information about the circumstances of each work's inception or commission, any pertinent information about the compositional processes, and details of performances. The composer's selection and setting of text, incorporation of dramatic or emotional elements, use of musical elements, and any performance difficulties are included in the discussion. / Chapter 4 covers Zaimont's earliest choral compositions written while a student at Queens College and Columbia University. / Chapter 5 presents the composer's smaller choral works written between 1969 and 1980. / The discussion of the oratorio, Sacred Service for the Sabbath Evening, composed in 1975 comprises Chapter 6. This monumental work is one of the composer's most important choral pieces. / Chapter 7 discusses the more recent works beginning with Serenade: To Music from 1981 and concluding with Parable: A Tale of Abram and Isaac of 1985. These works represent a more mature style development. / The final chapter summarizes the composer's compositional style and already planned, future compositions. Appendices include a summarized list of choral compositions, complete list of compositions to date, texts of the choral works, and publisher information. / This writer feels with certainty that this vivacious, youthful musician has a great deal more to offer the musical world. / Source: Dissertation Abstracts International, Volume: 52-06, Section: A, page: 1933. / Major Professor: Andre J. Thomas. / Thesis (Ph.D.)--The Florida State University, 1991.

Central to defining the wind band are the decisions that college and university band directors make when fulfilling utilitarian obligations while arguing for the aesthetic properties of the ensembles. In light of the increased popularity of college basketball, band programs are increasingly expected to provide a pep band. Complying to these requests further verifies the perception of the wind band as utilitarian. The allocation of the director's time and department funds to the pep band may also restrict the ability of both to provide opportunities for aesthetic growth. Directors need current data concerning the pep band to make informed decisions regarding its role in a band program. / This study creates a profile of the basketball pep band at NCAA Division I colleges and universities using a survey sent to 196 schools. A 79.08% response rate represents 51.48% of the Division I member schools. / Directors usually organized pep bands into groups with 31-60 members, although schools using 1-30 were almost as prevalent. Auditions that realized a predetermined instrumentation allowed the director to maintain greater musical integrity. On the other hand, the use of volunteers and undetermined instrumentation may indicate that some schools did not feel that timbral balance was a necessary consideration. / Students playing in these groups usually perform at men and women's games. Pep bands at other schools play either for men's games only or for additional athletic events. Compensation for this time commitment came in the form of reimbursement through cash or scholarships, tournament meal money, and/or free apparel. Athletic departments provide pep band funding at most schools. Music departments are the second most common financial source for pep bands. / Nine out of ten schools have an experienced musician serving as the pep band director. These statistics indicate that usually a musician is in position to make musical decisions. A question of musical accountability arises when athletic personnel control the financial resources and, perhaps, the musical decisions. At issue is how the function of the pep band affects the band director's role as a music educator. / Source: Dissertation Abstracts International, Volume: 56-04, Section: A, page: 1282. / Major Professor: James Croft. / Thesis (Ph.D.)--The Florida State University, 1995.

Thesis (Ph.D.)--Indiana University, Dept. of Speech and Hearing, 2009. / Title from PDF t.p. (viewed on Feb. 4, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1098. Adviser: Karen Forrest.

<p> For career musicians who underwent a lockout by their managements, such a traumatic disruption was an opportunity for learning to occur about their profession, music performance, and themselves. Using Jarvis&rsquo;s (2004, p. 106) model of adult learning processes, a phenomenological study sought to answer the research question: <i>How did the lived experience of career musicians during a labor lockout change their self-concept as musicians?</i> To arrive at an essence of that experience, quantitative and qualitative data were gathered by using a demographic questionnaire and interviews. The population was identified from published rosters of two acclaimed orchestras that locked out their musicians in the 2012&ndash;13 and 2013&ndash;14 performance seasons. The qualitative data analysis followed Creswell&rsquo;s (2007, p. 159) method to arrive at a description of the &ldquo;essence&rdquo; of lived experience by career musicians during a labor lockout. Results confirmed the lockouts provided &ldquo;disjunctures&rdquo; as catalysts for &ldquo;lifelong education&rdquo; (Jarvis, 2004), even though musicians&rsquo; self-concept were affirmed. As a group, musicians fit Haiven&rsquo;s (2006) matrix of negotiation when performing with a top-down, hierarchical organization, but not when performing in a collaborative organization, bringing musicians into Haiven&rsquo;s (2006) &ldquo;union zone.&rdquo; However, results departed from Haiven&rsquo;s (2006) matrix by indicating career musicians&rsquo; high need for social networks and less dependency on work deployment within collaborative organizations. The essence of musicians&rsquo; experiences during a labor lockout could inform the fields of labor relations, andragogy, music education, music psychology, and organizational change.</p>

This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.

The steel band is one of the fastest growing ensembles in university and college settings. There are many types of steel bands and several different approaches to how the ensemble is taught, the styles of music that are taught and the reasons why those styles of music are presented. This document is directed toward instructors and students at institutions that have or intend to have a steel band as a regular rehearsing and performing ensemble. This research work will assist in understanding the styles of steel band music, the various methods by which those styles may be taught and what music performance skills will be exercised and developed by the styles and different presentations. The history of the steel band in Trinidad and the United States will be dealt with briefly. Latter portions of the document discuss the music performance skills that are exercised and developed by steel band experience, the different styles of music that a steel band rehearses and performs, the methods of music presentation possible within a steel band and the different performance skills that each type of presentation will favor. Also included are a glossary of steel band terms and a selected discography of exemplary steel band recordings.

As a result of the French Revolution and its aftermath, the early nineteenth century saw substantial social changes in Germany which fueled unprecedented activity in the field of music theory. The more progressive democratic spirit introduced to Germany by early Napoleonic reforms was a major factor in the solidifying of a real class consciousness among the bourgeoisie and, perhaps more importantly, a strong sense of pride in this newly defined identity. This fact helps to explain the increased public interest in the more sophisticated aspects of music such as wazzu music theory, and the founding of music institutes to satisfy these new demands. The ability of musicians to pursue teaching as a profession, coupled with technological innovations in the printing and publishing industries, enabled music theorists to publish their pedagogical methods and theoretical notions. These publications, collectively referred to as the German Harmonielehren, contain important innovations in music theory pedagogy. During the fifty year period, between 1800-1854, music theorists explored different approaches to music theory pedagogy, including the use of musical example to clarify concepts presented, different labeling public systems, and different styles of the presentation of musical concepts. These authors, generally forgotten or unacknowledged today, provide the groundwork for the unified system of labeling and terminology available to and used by today's musicians and students of music. This work includes an annotated bibliography of one hundred eighty-seven Harmonielehren. The purpose ofthe bibliography is to identify the main historical contributors to this field, and, to highlight their individual innovations and most important works. The books are briefly summarized according to content and purpose, stylistic approach, use of musical examples, chord labeling systems and library location.

Fifteen undergraduate music education majors enrolled in an introductory music education course at a major university in the Southwestern United States participated in this study. Students constructed concept maps on the topic teacher effectiveness as a measure of their cognitive schemata. They completed two microteaching lessons in two different settings which were videotaped and subsequently analyzed using the Survey of Teaching Effectiveness and a time sampling procedure using criteria from teacher intensity research. Following their microteachings students constructed a second concept map on the same topic. Students were interviewed to explore the nature of their thinking about effective teaching. Quantitative analyses were conducted using data from the concept maps and both measures of teacher effectiveness. Results of a dependent t-test showed no significance difference between map scores either for total score or component scores of extensiveness and coherence. Spearman Rank Correlations were calculated between map scores and subjects' scores on both the STE and TI measures. No significant correlations were found to exist. Qualitative analyses were completed based on data from concept maps, self-evaluations, and interviews. Frequency responses by categories and data source indicated subjects' responses fell into two main areas: teacher effectiveness and skills and strategies. Within these two areas four sub-categories were targeted for further analysis: knowledge, teacher traits, delivery and instructional skills. Frequency responses for all but delivery skills were quite high. The following conclusions were drawn: (1) Preservice teachers have a clear picture of what it means to be an effective teacher. They describe an effective teacher as knowledgeable, possessing a variety of personal characteristics, and engaging in specific teacher actions. (2) Preservice teachers' cognitive structure does not change after the completion of two microteaching experiences. There is some indication that changes in the content of their thinking arise following their microteachings. (3) There is no relationship between preservice teachers' cognitive structure and their ability to demonstrate effective teaching behaviors. However, qualitative analyses suggest a possible connection between the content of their thinking and their ability to teach effectively. Implications for education and future research are discussed.

The purpose of this study was to determine if preschool children, specifically three- and four-year olds, were able to demonstrate recognition of chord changes and identify implied tonic-dominant chord changes as a result of age-appropriate instruction focusing on harmony. Sixteen preschool children (7, three-year-olds; 9, four-year-olds) were given 10, 15-minute lessons that consisted of activities designed to enhance their awareness of harmony. Following instruction, students were given a test that measured their ability to recognize chord changes with regular and irregular harmonic rhythm. Furthermore, subjects were asked to demonstrate audiation of the implied harmony in three unaccompanied melodies by performing chord changes on an electronic keyboard. Results indicated that preschool children (94%) could recognize tonic-dominant chord changes, especially when they occurred in a regular harmonic rhythm. A majority of students (69%) also showed mastery when chords were played in an irregular harmonic rhythm. Students were unable to demonstrate mastery in any of the audiation tasks. Following the 10-week treatment, eight of the original subjects continued for an additional 10 sessions. Instructional and testing procedures remained the same. The scores from the 10- and 20-week tests were compared using a repeated-measures ANOVA. Students showed significant improvement in their ability to recognize chord changes that were played in an irregular harmonic rhythm. A moderate correlation was found to exist between age and this same task.

The purpose of this dissertation is to examine the cues and miscues singers produce while reading musical text with written text. Analysis of the miscues focuses on defining the process and strategies singers use as they sight-sing a piece of music never before seen or heard. The research of Kenneth S. Goodman forms the basis for the procedures and methodology used in data collection and data analysis. Sight-singing data collected from eight singers, including all cues, miscues, asides, and specific notes, was transcribed on a musicscript. This data yielded 923 musical text and written text cues and miscues. Analysis provides the data that evolved into the Sight-Singing Musical Miscue Taxonomy, a tool for evaluating the miscues of singers orally reading music. A Musical Miscue Inventory Coding Form also was developed using the categories and sub-categories of the Sight-Singing Musical Miscue Taxonomy. The results of the eight singers' use of cues and miscues of the Sight-Singing Musical Miscue Taxonomy and the Musical Miscue Inventory Coding Form provides evidence for the parallel but distinct nature of sight-singing as two semiotic systems working in conjunction with each other-musical text and written text. The results also provide the means to establish a relationship between the sociopsycholinguistic transactive model of reading and the sociopsychomusical linguistic transactive model of sight singing. The findings of this research show that sight-singers utilize the same holistic process and strategies as readers do. The cueing systems, the cognitive strategies, and the learning cycles are the same.